Documente Academic
Documente Profesional
Documente Cultură
Version 6.11
May 2020
This guide will be updated regularly as the software itself is further improved and developed.
Check for updates and other information at
http://www.cockos.com/reaper/
This document has been produced, compiled and rendered to PDF format using the
wonderful LibreOffice Writer software.
Note: The What’s New In This Edition summary can now be found on Page 13.
ReaRead: REAPER books and training manuals printed and bound are now available from
http://www.lulu.com/spotlight/glazfolk
REAPER 4 Unleashed: Unlock Your Inner REAPER!
“REAPER Unleashed” picks up where "Up and Running".leaves off.
This book lifts the lid off REAPER's most powerful features, including custom actions, menus and toolbars,
FX chains, screensets, snapshots, templates, mouse modifiers and more. Many resources are supplied,
including files with sample mouse modifiers, track templates, custom toolbars and much more.
Its sample work files and dozens of step by step tutorials will help you to understand how you can use
these features in combination with each other to make REAPER behave for you the way you want it to.
Up and Running: A REAPER User Guide
The essential and definitive guide to recording, editing and mixing with REAPER. Fully updated for
each dot version. Includes sample project files and step by step examples to help you learn how to
use many features of REAPER. Includes special sections on routing and audio channel splitting, as well
as numerous examples of how to use and apply many of the supplied FX plug-ins.
"Up and Running is not only a comprehensive guide to using REAPER, it's also full of an amazing
amount of information on audio recording and engineering. I simply cannot recommend it enough!" -
Justin Frankel (COCKOS Inc and REAPER Developer).
ReaMix: Breaking the Barriers with REAPER
This book does much more than just teach you how to use basic tools (such as volume, panning, EQ,
gates, compressors, delay, reverb etc.) to get an OK mix. It also guides you thru the relationships –
some simple, some complex – that exist between the dimensions of sound and the dimensions of
space to transform your OK mixes into great mixes. Although not light on theory, it has a definite
practical emphasis, with links to archives containing some 40 or so project files, with step by step
examples to help you put your knowledge into practice.
"Wow! So much good stuff - from mindbending advanced techniques to solid sensible advice. This
guide should have a positive effect on just about anybody interested in mixing (and especially those
using REAPER)!" - Justin Frankel, Cockos Inc, developer of REAPER.
Note: With REAPER's rapid rate of development, this edition may not be 100% up to date. For a full list of new
and recent features, choose the Help, Changelog command from the REAPER menu. To check for the latest
versions of both REAPER and this User Guide, go to http://www.cockos.com/reaper/download.php
6. Select which elements you wish to install (if in doubt accept the default settings - see also section 1.4
below) and click on Install.
7. Wait while the program installs. When prompted, click on Close to close the Install program. You will be
asked if you wish to run the program now: in this case, choose No.
Note: If you are installing REAPER for the first time, or if you wish to replace an earlier version of REAPER with
this one, you should accept the default destination folder and not enable portable install. If you wish to install
this alongside an existing earlier version (such as 5.xx), change the default directory (e.g. to \REAPER6) and
enable portable install. This will ensure that your earlier 5.xx settings and preferences will be preserved
separately.
Tip: If you choose not to install any REAPER program elements or options, you can later change your mind by
simply running the install program again.
Item Explanation
Required files These are the files that REAPER needs to perform effectively. You have no
choice but to install these.
Optional Functionality JSFX library. This is an extensive collection of audio (choruses, filters, limiters,
etc.) and MIDI (sequencers, arpeggiator, chorderizer, etc.) effects that can be
used with your tracks and media items. It is recommended to install these.
VST/x64 VST bridging/firewalling. These options allow for greater
flexibility in the use of VST plug-ins. For example, they allow 32 bit plug-ins to
be used on a 64-bit version of REAPER. If in doubt, you should install these.
ReaMote, ReWire, ReaRoute. These enable REAPER's various advanced
routing capabilities, such as controlling the passing of audio/MIDI material
between REAPER and other programs. If you choose not to install these, you
can reinstall REAPER to add them at any time in the future.
Desktop Icon Leaving this option selected ensures that a REAPER shortcut icon will be placed
on your Windows desktop.
Start Menu Shortcuts Leave this option ticked to ensure that REAPER is added to your Windows Start
Menu.
Associate with RPP Ticking this option will enable you to open REAPER with any of your REAPER
Files Project files direct from Windows Explorer or any desktop shortcut that you
might create for your projects.
Method Comment
The Main Menu As with other applications, this is accessed by the mouse or keyboard.
Context Menus Click your right mouse button over an item or area of the screen to display a context
menu relevant to where you have clicked.
Toolbars Click your mouse on any toolbar button for its command to be executed.
Keyboard Many commands and actions can be accessed by keyboard shortcuts. You can also
Shortcuts assign own shortcuts to other commands and actions. Chapter 15 will show you how.
In some cases, different modifier keys are used for the PC and for the Mac. The
examples used throughout this guide are PC (Windows) shortcuts. Mac users should refer
to the summary table of similarities and differences shown below:
Element Explanation
The Menu Bar This displays the Main Menu near the top as a row of commands – File, Edit,
View, Insert, Item, Track and so on. As in other Mac and Windows
applications, the menu is used to give commands.
The Main Toolbar Just below the menu are two rows of seven buttons each. This is the REAPER
Main Toolbar. Depending on the color theme in use, your buttons might not look
the same as those shown. However, as with other programs, you can hover your
mouse over any button to obtain a tooltip (see example, left).
The various icons are introduced and explained throughout this guide as they
are needed, and summarized at the end of Chapter 5. In Chapter 15 you will be
shown how you can customize this toolbar.
The Timeline The timeline runs across the top of the REAPER window, just to the right of the
main toolbar. It measures the length of your project and helps you identify the
position of the various media items. In the example shown, the timeline is
measured and displayed in both measures/beats and minutes/seconds.
Element Explanation
The Arrange Area: This is to the right of the Track Control Panel. It contains thel track's media
Main Window and items (audio and/or MIDI and/or video). In this example, there are two tracks
Workplace! each containing one media item.
The Track Control This area controls the behavior of your audio and MIDI tracks – in this example
Panel (TCP) there are two tracks, labelled Vocals and Guitar. You can have as many tracks as
you need, subject only to any limitations imposed by your hardware.
Each track has its own set of controls (faders, rotaries and buttons). We'll get to
what these controls do and how they are used in Chapter 2.
The VU Meters Each track (and the Master) uses Voluime Unit Meters – VU Meters – as a
visual indicator of the level of the track's audio signal strength (volume). These
are visible in both the Track Control Panel and the Mixer.
The Transport Bar This is used to control recording and playback – for example, to start and stop
recording. We'll look at this in Chapter 2.
The Mixer and Mixer This is displayed (in this example) across the bottom of the screen. It shows
Control Panel (MCP) your tracks in a different way. In this example two tracks are shown: these are
the same tracks as is shown in the TCP.
Notice that this also includes a Master output track. The output of the Master is
what you actually hear when you play your tracks and media items. The Mixer
and Master will be explored in detail in Chapter 11.
Don’t be surprised if your screen doesn’t look quite the same as this, or even if it looks a lot different. The
REAPER screen can be customized to suit your individual needs. We’ll be covering this in Chapter 2.
Item Comment
Audio System The other items on this screen will vary with the audio system selected . Choose ASIO
and ASIO drivers if they are available for your sound card or Firewire or USB device.
Otherwise, WASAPI will usually give better performance than will the default Direct
Sound setting: you might need to set WASAPI to Exclusive mode.
Enable Inputs This option needs to be turned on (ticked) if you wish to use REAPER for recording.
Input Range If your device has multiple inputs (up to 512), specify the first and last that you want
to be available. In this example, eight inputs are available, allowing up to eight
microphones or lines (in any combination) to be used simultaneously for recording.
Output Range If your device has multiple outputs (up to 512), specify the first and last that you wish
to be available. Usually, your MASTER bus will direct output to a single pair of outputs,
but you can use the others also if you wish.
Request sample You can set sample rate and block size either here or using your sound card's own
rate/block size control software. If unsure, start with 44100 and 512.
ASIO Clicking this button gives you direct access to the Control Software for your sound card
Configuration or other audio device.
Audio Thread Assigning a higher priority will ensure that audio threads will be processed ahead of
Priority other threads (e.g. graphics).
and a third pair to a multi-output headphone monitor. By default, your outputs will have names something like
those shown here (below right). Clearly, these names are not very useful to you.
By assigning aliases to these outputs, you can ensure that whenever
you need to list them (for example, when determining the destination
of the output from your Master) your own names will be displayed,
instead of the hardware device names.
Example
To create output aliases:
1. Choose the Options, Preferences command.
2. Display the Audio page. In the section Channel
Naming/Mapping make sure you have ticked the option
Output Channel Name Aliasing.
3. Click on the Edit Names/Map button.
4. Double-click in the Aliased Names column on each
item in turn to edit them. In each case, after
typing your preferred alias, click on OK to return
to the Output Channel Alias/Mapping
window.
5. Click on OK to close this window and return to
the Preferences dialog box.
6. Click on OK to close the dialog box.
Your specified names will be automatically used
throughout REAPER. The topic of assigning outputs to
tracks will be covered later, beginning with Chapter 2.
Where several devices are present (input or output) you can click on any column header (Device, Mode or ID) to
sort the device list in that order.
The device list may include items that are not present. For these you have an option to Forget device.
Alternatively, you can enable/configure such a device (input or output) so that it can be used when present.
To assign your own name or to specify a time offset for any MIDI Input or Output device, right click over the
device name and choose Configure Input or Configure Output from the context menu. If you have a joystick
that you wish to use with REAPER you should click on the Add joystick MIDI button then select the device
name and processing mode. You can also specify whether you wish to use it for Virtual MIDI Keyboard input
an/or as a MIDI control/learn device.
If you wish to use a Control Surface, such as a Behringer
BCF2000 or BCR2000, with REAPER, then you should set its input
mode to Control Only. The use of Control Devices will be
explained later in this guide, notably in Chapters 12 and 15.
Reset Options
Towards the bottom of the MIDI Devices preferences window
there are options for Reset by (all-notes-off and/or
pitch/sustain, and Reset on (play and/or stop/stopped seek).
These affect only hardware devices.
Other Audio Preferences
You can see that there are other Audio Preference screens that
we have not yet examined, including Buffering, Playback and
Recording. These will be dealt with later in this User Guide,
particularly in Chapter 22. When getting started, you should be
able to just leave these settings at their defaults, only returning
to change them later if you find that you wish or you need to do
so. When finished, clicking on OK will, of course, close the Preferences box and cause your settings to be
remembered.
This section has covered the general issues involved in setting up your system for working with MIDI. For project
specific settings and options, see Chapter 2. In particular, if you are working primarily with MIDI material you
may wish to change the default project timebase setting. This too is explained in Chapter 2.
Windows does not locate any such folders for you. You will need to identify and specify where your VST plug-ins
have been installed. If your VST plug-ins are spread across more than one folder (this is not unusual), you will
need to use the Add button several times, each time selecting one of your folders. Use the OK button in the
Browse for folder window each time after selecting the folder name. Clicking the Re-scan button in the above
window will then make the contents of your VST and VSTi folder(s) available immediately. REAPER will also scan
any subfolders.
REAPER will automatically scan your VST folders each time the program is launched. You can also return to this
screen at any time and add more VST folders later. Specify the extra location(s) of your VST plug-ins, then Re-
scan then Apply then OK to close this screen and cause your new settings to be remembered. You can find
more information about the various VST Preferences settings and options in Chapter 22.
VST and VST3: important note: REAPER scans your directories for VST plug-ins according to your list, from
left to right. If it finds two or more with identical names, it will select the last one that it finds. If a VST3 plugin is
named even slightly differently from its VST equivalent, both versions will be installed and made available within
REAPER. However, if both are named identically, only the last one found will be installed. For this reason, it can
make sense to place your VST3 directory last in the list (as shown in the example above).
There’s one more thing that might interest you here. All of the settings, preferences and custom files are text
files. Any of them can be opened and modified using a text editor such as Notepad. This even applies to
REAPER’s project files, with .RPP extension. Of course, most probably you will never need to do this, and if you
do, you should always take a copy first, just in case of any errors or accidents. However, you should never try
to use a text editing program to open, view or edit any file ending in .app, .dmg, .exe or .dll
MacOS
1. Insert the flash drive into a USB port. Create a new folder on this flash drive, e.g. REAPER4. In this folder
create an empty text file called reaper.ini
2. Open the Mac folder containing the REAPER disk image (.dmg) file: this will most likely be Downloads.
3. Double click on this file to open it. Drag and drop the REAPER icon to the new folder on the flash drive.
4. Be patient. There is a large number of files to be transferred. This can take 10 minutes or more.
Windows
1. Insert your external device into an available USB port on your PC. Note its drive letter (e.g. E:, F:. G:, H:.
I:. etc.). This will depend how many internal hard drives, disk partitions, external hard drives, DVD
burners, etc. you have already installed.
2. Double click on the REAPER install file to start the install process.
3. Click on I Agree to accept the license agreement. The Choose Install Location window will be displayed.
4. Enable the option for Portable install.
5. Click on Browse. Select your flash drive and click on Make New Folder. Name the folder (e.g. REAPER)
and press Enter.
6. On returning to the screen shown here, work your way thru the installation process in the normal way.
7. Wait while the various files are installed. There are a lot of files and this might take quite a few minutes.
Install REAPER to USB key This can be used to install REAPER to a Flash drive or similar device.
However, the method described earlier in this Chapter is simpler!
ReaMote Slave The use of ReaMote is beyond the scope of this User Guide. However,
you can read an overview in Chapter 23.
REAPER (create new project) Starts REAPER with a new project file.
REAPER (reset configuration to Starts REAPER and resets all settings, options and preferences to factory
factory defaults) defaults. Use this with caution!
REAPER (ReWire slave mode) Opens REAPER as a ReWire slave. This is beyond the scope of this User
Guide, but is discussed in overview towards the end of Chapter 17.
REAPER (show audio Starts REAPER with the Audio settings Preferences page.
configuration on startup)
Uninstall REAPER Uninstalls REAPER. If you need to uninstall REAPER for any reason, you
should always use this method.
Whatsnew.txt Opens the text file displaying a history of new features and changes
introduced in each version of REAPER.
The General page of your Options, Preferences window offers a number of options. In particular, you can:
Manage your Undo preferences.
Specify whether or not you want the most recently used file automatically loaded when REAPER is started.
Choose the Last active project option for this. Other startup options are explained in Chapter 22.
Specify whether you want to Automatically Check for New Versions of REAPER on Startup.
Determine the number of files displayed on the Recent project list.
Other General Preferences settings are discussed and explained in Chapter 22.
Notice too the toggle command Continuous scrolling on the Options menu. If disabled (the default), the play
cursor will scroll from left to right during playback. If enabled, this cursor will find and then remain stationary in
the center of the arrange window during playback, while the media items scroll across the screen.
The examples used throughout this guide use the project file All Through The Night.RPP. This can be
downloaded from www.cockos.com/wiki/index.php/REAPER_User_Guide. It might help you to keep that
project open while using this documentation. Take a copy of this file and work with that. You will then be able to
experiment freely without fear of damaging any of your own important projects.
Preferred media formats when FX are applied, or items are glued or frozen, and when media items are
rendered. Also, default media format for project and regions. You have the same range of formats,
options and settings as you have for recording format.
project, you might prefer not to see record arm, monitor and input controls. Or you might prefer volume and pan
controls only to be visible when a track is selected. The theme adjuster makes it possible to do this.
If you prefer all controls to be visible all of the time, leave layout B as supplied and make it your default using
the Options, Layouts, Track panel menu. For clarity, this is the layout mostly used throughout this guide.
The Hide option for any “cell” in the matrix is toggled on and off by clicking there. For example, in the screen
shown above, you would click on the text HIDE at the intersection of “If mixer visible” and “Pan & Width” if you
wanted to unhide that control and make it visible even when the Mixer is visible. Similarly if you wished to hide
the “Insert FX” when the track is not selected, you would click on that cell in the matrix to set its HIDE status on.
Let’s look at some examples of how in practice these various options can work.
Mute Toggles Mute on/off for selected track(s) Note: Both the Mute and Solo controls can also
be used with modifier keys such as Alt and Ctrl for
Solo Toggles Solo on/off selected track(s)
various functions. See Chapter 5 for details.
By default, Solo causes the track itself and the output of any sends originating from
that track to be heard. This is known as Solo in place. To hear only the track without
these sends, hold the Alt key while soloing the track. Notice that your track controls
also include a phase control button. This can be used to reverse track polarity.
Function Keystroke
Maximise height of all tracks: if already ~ (on most keyboards, this is the Shift key in
maximised, restore to previous height. combination with the ` key).
Increase height of selected tracks, minimise ! (on most keyboards, this is the Shift key in
others. Repeat to restore previous track height. combination with the 1 key).
Minimise all tracks. @ (on most keyboards, Shift with the 2 key).
Toggle height of all tracks between minimised, Double click mouse on vertical scroll bar.
normal and maximised.
Make selected track(s) unaffected by track height Use Lock track height command on track
adjustment and vertical zoom shortcut keys. right-click context menu.
Lock/unlock track controls (volume, pan, etc.) Use Lock track controls command on track
including the FX chain. right-click context menu.
1. Click on the FX Button in the Track Control Panel of the track to which you want to add the FX. This opens
the FX window for that track. If the Add FX window (see below) is not automatically displayed, click on the
Add button to open
it.
2. Select a category,
e.g. All Plug-ins,
DX, VST, JS,
Cockos. All FX in
that category will be
listed.
3. Double click on the
required FX name.
4. To add more F1X,
click on the Add
button in the Track
FX window, then
repeat steps 2 and
3 above.
Note: When you add any plug-in to any track's FX chain, that plug-in will then be displayed in the FX Browser's
Recently Used FX folder.
Task Method
Dock the FX Chain Choose the FX, Dock FX Window in Docker command.
Adjust the values for Track FX Drag with the mouse, or scroll mouse wheel over, the parameter
parameters control fader. For fine adjustments, hold Ctrl key while you do this,
or click once on the control and use up/down keys on keyboard.
Adjust the wet/dry mix of any FX Select the plug-in in the FX chain, then use the mouse to adjust the
small rotary control next to the UI button on REAPER's FX window
interface, as shown
here. 100% equals
completely wet: 0% is
completely dry.
Change Track FX Order Drag and drop FX name up or down within the Track FX window.
Float an FX window Right-click on FX button in TCP and select the FX, or ...
Double-click on the FX name in the FX Chain window (toggles). The
title bar of the floated window will display the track name, the FX
name, and its place in the track FX chain. For example: VST:
ReaEQ, Track 1 “Vocal” [2/3],i.e. the 2nd FX in a chain of 3.
Keep FX/Add FX window on top Click on the pin symbol at right of title bar.
Close a floating FX window Double-click on FX window title bar.
Copy an FX (or FX selection) from Ctrl drag the FX from to the track panel to another track. To copy
one track to another. automation envelopes with the FX, use Shift Ctrl drag.
Move an FX (or FX selection) from Hold down Alt, drag the FX from the source track FX window and
one track to another. drop on the track panel for any other track.
Rename an FX Instance Select the FX name in the FX Chain and press F2.
Bypass an FX Untick either the check box left of the FX name in the Track FX
window or the check box in the top right corner of the FX window.
Replace one FX with another Select the FX in the FX chain, then press R. In the Replace FX
window (now displayed) double-click on the required replacement
FX. Any existing routing configuration will be preserved.
Make the current Track FX the Within the Track FX window, choose FX, Save Chain as default
default for new tracks for new tracks.
Open an FX from track panel Right click on FX button, then left click on the required FX name.
Remove an FX from a track Select FX in the track FX chain then click on the Remove button.
Remove all FX from a track Hold Alt while clicking on the track’s FX button in the TCP.
Task Method
Search for an FX Enter text in the Filter List at the bottom of the FX window.
Save the current sequence of In the Track FX window, choose the FX, Save FX Chain command.
Track FX as a chain FX parameter settings are saved with the chain.
Insert additional FX within an Drag and drop the required FX from the FX window to the required
existing FX chain position in the FX chain.
Save selected Track FX as a chain Select the names of the FX to be included in the chain (use Ctrl
Click), then choose FX, Save Selected FX as Chain
Retrieve an existing previously Within the Track FX window, choose FX, Add FX Chain command,
saved FX Chain or within the TCP right-click over the FX button and select Add FX
Chain from the menu.
Load your default FX Chain In track FX window, use FX, Load Default Track Chain command.
Access the FX Preferences Within the Track FX window, choose the Options, FX Plug-in
settings Settings command. These are discussed in Chapter 22.
Bypass all FX for a track In the Track Control Panel, click on the
FX Enable/Disable toggle button. Click
again to reverse this.
Bypass all FX (all tracks) Hold Ctrl while clicking on FX
Enable/Disable toggle button.
Example
In this example, we will create a default FX chain consisting of ReaEQ and ReaComp, both set to bypass mode.
1. Open any project file and add a new track at the end. We will use this track to create our FX chain.
2. Click on the FX button for this track to open the FX Window. In the first (left) column of the Add FX
window, click on Cockos.
3. Select in turn, first ReaEQ (Cockos) and then ReaComp (Cockos). In each case, either use the OK
button to add the plug-in to the track FX chain, or drag and drop them into the chain.
4. Make sure that both these FX are unticked – this sets them to bypass.
5. Right click over one of the FX and from the context menu, choose FX Chain, Save all FX as default
for new tracks.
6. Close the FX window. You can now exit REAPER if you wish. There is no need to save the changes to
the project file.
7. Re-open REAPER, open any project file and insert a new track anywhere you wish.
8. Open the FX window for your new tracks. You should see that the two plug-ins, ReaEQ and ReaComp
have already been inserted into this FX bin, in bypass mode.
Tip: If you wish to make changes to the contents of your default FX chain, simply repeat the process described
above, this time with the changed set of plug-ins, or (to remove it) with no plug-ins at all.
Tip: If you hold down the Ctrl Shift keys when opening a project file, the file will be opened with its FX off line.
This can be useful if you need to conserve CPU, or if there is a plug-in which might be causing problems.
For every send there is an equivalent receive, and vice versa. For example, if you now open the Routing window
for Track 5 (click on the track's ROUTE button) you will see that it has a receive from each guitar track. You'll
learn more about REAPER's routing later in this chapter (Routing Essentials) as well as in Chapters 5 and 17.
You might have noticed a Playback time offset option. This allows you to compensate for possible latency
introduced by third party VST instruments. For now you can ignore this: it will be explained in Chapter 10.
Making Adjustments
When you now play the song, you’ll probably find that there’s more chorus on the guitar tracks than you would
like. There are four main ways to adjust this. Experiment until you find what gives you the results you want:
1. Adjust the chorus FX parameters. In this case, you could lower the amount of Wet signal in the mix.
2. Adjust the levels of one or both of the receives in the FX bus routing window.
3. Display the routing window for either guitar track and adjust the send levels for that track.
4. Adjust output volume fader for the track called FX Bus.
Speed Tips
In addition, the Performance Meter has two right click menus, each with a number of options (see above). The
first is accessed by right clicking in the track list area.
In order to do this … In the Performance Meter window do this …
Open FX Window for that track. Right click on track name, choose Show FX Dialog.
Toggle FX Bypass On/Off. Right click on track name, choose Toggle FX Bypass.
The other menu is used mostly to select what information you want
shown in the window. Right click anywhere in the main Performance
Meter area to display this. You can also use this menu to move the
window to the docker.
Tip: You can select several tracks – using Ctrl Click – then right
click over any of the selected track numbers in the Performance Meter
window to Toggle FX bypass and/or Track Mute status for all tracks in
the selection.
Note: You’ll find more information about the REAPER Performance
Meter in Chapter 22 of this guide.
Tip: To set the loop selection to match a media item, hold Ctrl while
you double click on that item.
To set the time selection to match a media item, hold Shift while you
double-click on the item.
Now when you play the project, provided that the loop (toggle repeat)
button on the transport bar has been engaged, it will replay over again the area
selected for your Loop. This is known as the repeat function. If loop points are
linked to time selection, the start time, finish time and duration of the selection are
also shown on the Transport Bar. In any event, pressing the R key toggles this
repeat function on and off. There is also the option (under Options, Preferences on the Playback page) to
stop playback at the end of a loop when the
repeat function is disabled.
To change the area defined as your loop,
simply repeat the original procedure. To clear
the loop altogether, without defining a new
one, press the Escape key. If loop points are
not linked to the time selection, you can
define a time selection by clicking and dragging in the space underneath or between the media items, in the
arrange view background area. An example of this is shown below.
Right clicking on the Timeline then gives you a menu of commands which you can apply to a time selection,
including Zoom Selection. You can also use this menu to change the units used on the timeline – for example,
Minutes:Seconds, Measures:Beats, Measures:Beats and Minutes:Seconds, Measures.Beats
(minimal), Measures.Beats (minimal) and Minutes/Seconds (as in the example above right), Seconds,
Samples, Hours:Minutes:Seconds:Frames or Absolute Frames.
The other commands on this menu will be discussed elsewhere in this User Guide, as the need arises. These are
features that you are likely to find useful when editing your files.
Incidentally, to zoom out of a time selection and restore a whole project length to view, press Ctrl PgDown.
There's more about loops and time selections elsewhere in this guide, e.g. Chapter 9.
Function Keystroke
Nudge Entire Time Selection left a little. , (comma)
Nudge Entire Time Selection right a little. . (period or full stop)
Extend Time Selection to left by nudging left edge left a little. Ctrl ,
Shrink Time Selection from right by nudging right edge left a little. Ctrl Alt ,
Extend Time Selection from left by nudging right edge right a little. Ctrl Alt .
Move Time Selection left by time selection length. Shift ,
Move Time Selection right by time selection length. Shift .
Copy portions of selected media items in Time Selection. Ctrl Shift C
Remove Time Selection. Esc
Zoom to Time Selection. Ctrl PageUp
Zoom back to Project. Ctrl PageDown
If you wish, you can use the keyboard rather than the mouse to manage your time selections. First you need to
position the cursor at either the start or the end of the loop, then use one of these:
Function Keystroke
Drag cursor to the left and create time selection. Shift Left Arrow
Drag cursor to the right and create time selection. Shift Right Arrow
The following keystrokes can be used to zoom when you are working with a time selection:
Tip: If your cursor will not stay exactly where you wish when creating a selection, make sure snapping is off.
The illustration below shows an example of the Track Routing Window for a track for which both a send and a
receive have been created. You will be shown how to do this later in this User Guide, starting at Chapter 5.
The early chapters of
this User Guide will take
you thru the basics of
track routing. After
mastering these, you will
find more complex
examples elsewhere in
this User Guide,
especially in Chapter 17.
Note: Sends and
Receives can be any of
three types. These are
Post Fader (Post Pan),
Pre-Fader (Post FX)
and Pre FX. The
differences will be
discussed in Chapter 17.
If in doubt accept the
default option Post-Fader (Post Pan). See also the flow charts at the end of Chapter 6.
Tip: Drag and drop routing. A quick way to create s send from one track to another is to drag and drop from
the route button on the source track to the destination track. This is explained in detail in Chapter 17.
Above you see (above) the track wiring view for a project with two guitar tracks and one reverb track.
The solid straight white lines depict sends to the master.
Click and hold
on any track
name to drag
and drop it
around at will.
The curved
lines represent
sends from
one track to
another (from
each guitar
track to the
reverb track.
The little arrow
next to the
track number
can be used to
collapse/
expand the
display of
detailed track information for individual tracks. This can be especially useful if your file has a large number
of tracks and/or more complex routing (as shown, for example, above). Notice also how the two folders
(Vocals and Music) and their child tracks are depicted.
In “normal” mode for each track the following overview information is displayed: track number and name, media,
fx, fader information,
channels and any sends.
Let’s look at an example
(right).
The Gtr Neck track shown
here contains media, one
FX (ReaComp) one send
(to the Reverb track) and
a send to the master. It
consists of two channels
(indicated by the two
vertical lines on the right.
The Reverb track contains
no media, has receives
from tracks 1 and 2,
contains ReaVerbate and
also directs its two
channel output to the master.
Clicking on any FX name will open its UI – here you can adjust any
of its parameters, and/or access the pin connector for that FX.
Click where shown here (right) to display full routing information
for that FX.
Click on the text “Fader” to open the routing window for that
track: this has the same effect as clicking on the Route button in
the TCP or MCP. Here you can modify, add or delete sends and/or
receives for this track.
You can click and drag in Track Wiring view to create new sends
between tracks. The send type will be determined by exactly
where you position the mouse before dragging:
Hover the mouse over the “body” of any track box (as shown
below right) and you will see three boxed tiny + symbols on the
left side of the track box.
Click and drag from the symbol beside the first FX in the FX chain
to the destination track to create a Pre FX send.
Click and drag from the symbol beside the box labeled “Fader” to
the destination track to create a Pre fader (Post FX) send.
Click and drag from the symbol beside the box labeled “Master” to
the destination track to create a Post fader (Post FX) send.
You can also modify MASTER settings in Track Wiring view:
Click on any FX listed within the MASTER box to open its UI, where
you can adjust any of its parameters.
Within the MASTER box, click on the text “Fader” to open its
hardware outputs window, Here you can add, adjust, or remove
hardware outputs.
Other points to note are:
Within any track box, click on the text “Send” to open the control window for that send. Here you can
modify or delete this send, for example to change the send type, adjust volume and/or pan, or specify
destination channels.
The more complex the project, the more complex the track wiring diagram. This is where the context menu
can be helpful. Right click anywhere in the Track Wiring window to display the menu shown below.
You can “unclutter” the diagram using any or all of the three toggle options shown:
Only show wires on track on mouseover
Only show hardware output/input wires on
track mouseover
Show routing controls when creating
send/hardware output.
If you get into a tangle after dragging and
dropping things around, Reset all track
positions will get you out of trouble!
Note that you can switch between any of the four
listed view modes - routing matrix, grouping
matrix, region render matrix and track wiring.
This can be especially useful for switching
between the track wiring diagram and the routing
matrix.
This menu also includes the option to Dock or Undock this window. Docking is explained in the section
immediately following this one.
Close all projects but current. Closes all project tabs except current one.
Close all projects. Closes all open projects.
Always show project tabs. Shows project tabs, even if only one project is currently open (toggle).
Show project tabs on left side of window: Displays tabs on left of window instead of top (toggle).
Hide background project FX/MIDI windows. Ensures that when one of a number of open project tabs is
selected, any open FX windows etc. belonging to other open projects are not displayed on top of it.
Run background projects. This allows you to play the project in one tab while working on another.
Run stopped background projects. Commences playback of projects in tabs not currently selected.
Play stopped background projects with active project: Causes background projects (open on other
tabs) to be played with the current project. When this is enabled, you can also select
Synchronize play start times w/play background projects. This will ensure that all open projects are
played/stopped in synch.
Offline background project media will set media items in background projects offline.
To copy or move tracks and/or items from one project to another, first (in the source project) select the
tracks/items, then press Ctrl C (copy) or Ctrl X (cut). Next, click on the tab of the destination project and press
Ctrl V.
There is a Subproject rendering submenu with four options – Do not automatically render subprojects,
Prompt before automatic render, Defer rendering of subprojects, and Leave subproject open in tab
after automatic open and render. Subprojects and these options are explained in Chapter 12.
Force project tabs visible when monitoring FX in use. Displays tabs whenever FX monitoring is active.
Monitoring FX … This opens the monitoring FX window.
Tips: Multiple project tabs can be reordered using drag and drop. Also, you can use the File, Close All
Projects command to close all open projects at once. Note that the small X button used to close a project tab
can be positioned to the left or the right: just drag and drop according to your preference.
You can open several projects together at the same time, each in its own project tab, provided all the .RPP files
are in the same folder. Simply use the File, Open project command, then navigate to the required folder. Use
Ctrl Click to build your selection, ensure Open in new project tab is ticked, then click on Open.
Amongst the most useful options on this screen are the following:
Use project file as a template. This enables you to use an existing project file as a template for new
projects. All tracks, HX, tracks, buses, routing etc. will be copied into the new file from the template file.
Prompt to save on new project. If you enable this option, you will be prompted to save your new
projects immediately they are created.
Open properties on new project. If this option is selected, the Project Options dialog box will
automatically be displayed every time you create a new project. This can help ensure that you select the
correct recording format and other settings that you require.
Automatically create a backup each time your file is saved and overwritten. This helps protect
you against accidental loss of work.
Whether to create and save multiple project versions. This feature is explained in Chapter 12.
Automatically save to a timestamped file at intervals you specify. This can help to protect you
from the consequences of an unforeseen circumstance such as a power outage or a computer crash. You
can save these files to the project directory and/or an additional directory. You can also specify the
frequency (in minutes) of automatic saving, and whether to apply this when not recording, when
stopped, or at any time.
8. To finish recording, either press Stop on the Transport, or press Space, or press the Record button again,
or press Ctrl R. Now click on the Record Arm button for this track to “disarm” it.
Tip: The Input menu (shown above) includes an item Input: None. This can be used to prevent material from
ever being accidentally recorded onto a track where it is not wanted, such as perhaps an FX bus or a folder.
Note 1:
If you use the Record button or
Ctrl R to stop recording, recorded
items are automatically saved.
If you press Space or Stop, the
dialog box shown will let you save or
delete any or all of your newly
recorded media items.
Note 2:
REAPER supports “on the fly
recording”. This means you can also
arm additional tracks after the
recording has started. Those tracks
will then also be recorded from the
point at which you arm them.
Similarly, if recording more than one
track, you can stop recording one
while continuing to record the others by clicking on the Record Arm/Disarm button to disarm just that track.
Tip: Track/Send Default Preferences. The Track/Send Defaults page of REAPER's preferences can be used
specify record configuration defaults for future tracks and projects, including turning input monitoring off and
selecting default inputs – see Chapter 22.
Tip: When recording, make sure that the incoming signal is not too loud, or you can damage your recording
equipment. Here’s what to do:
1. Turn the input or gain control on your input device (e.g. firewire device or desk) all the way down.
2. If recording an instrument in-line, insert one end of the line into the instrument and the other end into
your input device. Turn the output on the instrument fully up
3. Audition the instrument, slowly raising the input or gain control on your input device until it sounds right.
these are listed below the audio inputs. You can also right click over any red cell to access the Record Input
menu should you wish to do so.
5. Monitor the strength of the signals and record as before.
Tips: Using the Track Control Panel to prepare multiple tracks
Another option is to use the TCP to set up and record your tracks.
1. To define the same record settings for multiple tracks, select the required
tracks, right-click on the arm record button, then make your choices from the
menu. Holding Shift will over-ride this and apply your menu choices to the one
track only. Inputs can be assigned to a selection of tracks in a similar way by
clicking on the Input button.
2. To assign a series of mono inputs in sequence to a set of tracks, select the
tracks then click the Input button of any track in the selection. Next, select
Assign inputs sequentially then your required inputs – e.g. in the above
example, this would be Mono, Input 1 to Input 4.
3. To insert a new track at the end of your project, you can simply double click in
the Track Control Panel area, just below the last existing track.
Count-in length (Measures): This defines the number of measures a count in should be. If it is the very
beginning of a project, it will wait those number of measures before starting to record. If you select a place to
record within a project, it will start the count in this many measures before the time that you want to record at.
Primary beat volume: This determines how loud is the metronome volume.
Secondary beat gain:- The amount by which the volume of secondary beats will be adjusted.
Beat pattern: You can accept the default AABB or define your own. You can also use Samples for your own
metronome sounds.
First beat sample: This is the sample for the first beat – e.g., in 4/4 time, this sample will play on the 1.
Subsequent beat: This is the sample for other beats. For example, in 4/4 time, this sample will play on the 2,
3, and 4. To use your samples for the metronome in all your project you need to set them up, save a project
with no tracks (but with any other project setting you think may be useful) then, in Preferences/ Project specify
that project as the default template to use for all new projects.
By default, REAPER uses a synthesised metronome. You can specify in Hz the Frequency of first beat and of
Subsequent beats.
Beat click length xx ms: This is how long each beat click lasts.
Start shape: This can be hard (louder) or soft (quieter).
The Pre-roll settings can be used so that when you start recording, or playback, the metronome will play for the
specified number of measures before recording or playback actually begins.
Recording during audio pre-roll: to record audio during audio pre-roll, the recording preference to record
audio during pre-roll will need to be enabled. Then, Enable metronome and the metronome settings options
Run metronome during recording and Pre-roll before recording. After the recording is finished, drag the
left edge of the recorded item to the left to reveal what has been recorded.
Tip: The Metronome Time Base is controlled by the Project Settings. Press Alt Enter and display the Project
Settings page if you need to change this.
Try it now! Open the supplied project file All Through The Night.RPP and save it as All Through The
Night LAYERS.RPP. Have a go at recording another instrumental track of your choice to go into this project -
any instrument you choose!
Note 1: Monitor Input (Tape Auto Style). This option differs from normal input monitoring in that it
monitors input only when the transport has stopped or when you are recording. During playback you will hear
only the timeline audio, not the input.
Note 2: If you are monitoring an armed track when an existing track uses a plug-in (such as ReaFir) that has
latency, you may wish to consider enabling the option Preserve PDC delayed monitoring in recorded
items. This more advanced topic will be explained in more detail later in this chapter.
Note: You can enable the option Monitor track media when recording. If you do this when punching in,
say, a guitar or vocals, regular Monitor Input will cause you to hear both the existing and the new material
right up to the punch, and during the punch. Monitor Input (tape auto style) will monitor only the existing
materials up to the punch, but both existing and new during the punch.
Tip: If you make a mistake or change your mind when overdubbing, you can use Ctrl Z to undo the recording
or you can select the unwanted media item and use the Delete key to remove it.
Getting to grips with REAPER's various record modes and in particular how they work in combination with other
options (such as monitoring) can be somewhat bewildering for new users. Chapter 24 includes a summary table
Troubleshooting Record Modes and Monitoring.
The section that follows, along with most subsequent sections in this chapter, uses images that show the
REAPER 5 default color theme.
If you wish to use this theme, choose Options, Themes, Default_5 from the main menu. Otherwise, you should
have no difficulty applying the instructions using the REAPER 6 default theme.
This example shows this. In the first illustration (top) a part of a track has been recorded. In the second
illustration (above), we have returned to this track and with the option Create new media items in separate
lanes (layers) enabled we have re-recorded the last part again, together with some new material.
In this case, the second take is to all intents and purposes a separate media item. You can choose which of
these media items are and are not played.
There is also an Options menu command to Show overlapping media items in lanes. The maximum
number of lanes can be set on the Options, Preferences, Appearance page.
This general topic will be addressed again later in this guide, especially throughout Chapters 4, 5 and 7.
Note: In the Options, Preferences, Project, Track/Sends Defaults window there is an option to make free item
positioning enabled for your tracks by default.
5. If you need to resize any of them, hover the mouse over the border between the end of the event and the
background, about half way up. Click hold and drag to the left to make it shorter, or to the right to make it
longer, then release the mouse.
6. To select all the
required events,
hold the Ctrl
key while
clicking on each
in turn. If you
need to reposition the play cursor before recording, click on the Timeline. Arm the track for recording.
7. Press Ctrl R to start recording. When finished, press Ctrl R again to stop. If prompted, accept the option
to save all files. Your previously empty media items will have been replaced with your newly recorded
material. Disarm the track.
Note: The example above demonstrates an important difference between MIDI and Audio. With Audio the
actual sounds made by the instrument or voice are recorded. It is possible to use FX like EQ and Compression to
alter how the audio item sounds when played back, but the audio item itself stays the same.
With MIDI, you are essentially recording a series of instructions that by themselves have no sound. The music is
created when those instructions are fed to a synthesizer. By changing the parameters of the synthesizer's
settings – or even by changing the synthesizer – we are able to produce a completely different sound.
Despite these differences, both audio and MIDI items can be included on the same track.
Note: Before recording, you can assign sequential input channels to a number of MIDI tracks in one action.
Select the tracks, then click on the Input button for any one of them. From the menu, choose first Assign
inputs sequentially, then MIDI (sequential inputs or channels), then select the MIDI device, then the
channel selection (e.g. for four tracks, perhaps channels 1 to 4).
built for you. What exactly this produces will, of course, depend upon which Virtual Instrument you have
selected.
Monitoring an External Synthesizer
If you are working with an external hardware synthesizer then it is likely that at times you may wish to monitor
its output in REAPER. This topic is covered in Chapter 13, Manipulating and Editing MIDI Items.
you use any of the Record: MIDI overdub/replace options with looped time selection recording. In each
case, new takes will not be created. Instead, the existing take will be edited. For example:
Record: MIDI Overdub: with each loop, the new material will be added to the existing material within the time
selection.
Record: MIDI Replace: with each loop, all previous material within the time selection will be replaced with
new material. For example, the first loop will replace existing events within the time selection. Second time
around it will replace the material recorded in the first loop with new events, and so on. Only the most recent
material will be saved.
Record: MIDI Touch-replace: Each time you play a note within the time selection any existing material
concurrent with that note will be replaced with new material is on the same channel. For example, if you play
correctly except for one wrong note first time, you can correct just that one note second time round.
Record: MIDI Latch-replace: Each time round the loop all existing material in the time selection will be
replaced with new material if on the same channel only from the moment you press your first note. This
technique can be useful, for example, if you are replacing existing material little by little.
Item Comment
Preparation Set up all external recording equipment needed (microphones, stands etc.).
All faders and gain controls on mixer and/or sound device turned right down.
Phantom power (if available) turned off.
Everything connected that needs to be connected (e.g. microphone leads to mixer
or sound device).
Turn equipment on, but check volume on speakers isn't too loud.
Connect headphones to headphone amp or sound device.
If phantom power required (for condenser microphone), turn it on.
PC Preliminaries Turn on PC and wait for Windows to open.
Open REAPER with required project file. Save file.
Project Settings Check recording format and settings – e.g. 24 bit WAV at 44100 Hz.
Is a different format required for this track?
Make sure Record Mode is set to Normal.
Track Settings Named and armed for recording?
Track Input Monitoring on or off?
Use the Sound Card’s direct input monitoring if
available in preference to REAPER’s.
Record Input selected?
Correct input channel selected?
Test Recording Levels Start low and work up.
Record a small sample
to test levels: the
examples here show too
low, too high and about right.
It is better to be too low than too high.
Recording Press Ctrl R to record and again to stop recording when finished. Save media
items. Press Ctrl S to save project file.
Evaluating Unarm track before playing back recorded tracks to evaluate them.
Especially if listening thru headphones, disable Input Monitoring (or turn faders
and gain controls on the input device right down), to prevent live ambient sounds
from being mixed in with your recorded material.
One solution could be to convert the files to a compressed format and send her those. There's a quick way to do
this, using the File, Save project as … command. Choose this command and follow these steps.
1. If you wish, navigate to a required parent folder.
2. Enable the three options to Create subdirectory for project, Copy all media into project
directory, and Convert media.
3. Click on the Format... button to display the settings box shown above.
4. Enable the option (top left) Set format to save as.
5. Select your required format (e.g. FLAC, MP3 or, as shown here, OGG Vorbis).
6. Specify your preferred format settings.
7. Click OK then Save.
All audio media items in the project will be converted to the specified format as they are copied across. The
format of the original items will remain unchanged.
You can also convert and export selected individual media items from one format to another without having to
convert the whole project. This topic is covered in Chapter 21.
The REAPER main menu command Insert, Media File … can be used to incorporate existing media items (such
as MP3, MIDI and WAV files) into a REAPER project, but it is often easier and more flexible to use REAPER’s
Media Explorer for this purpose. The media explorer includes several additional features that help you to find
the items that you want. Before exploring its features and its functionality, identify the following:
Explorer/Shortcuts Panel. This can be used to navigate your directories and files, rather like Windows
Explorer. In addition, you can add here shortcuts to your favorite folders. Right-click in panel for menu
toggle option to disable sort order.
Browsing History Buttons. A quick way of browsing back and forth thru your browsing history.
Browsing History Dropdown. This stores (and can display) a list of recently visited folders. You can
select from this list to open any of these folders.
Filter Box. Use this to type a text string to filter the displayed file list.
List/Details Dropdown. Selects whether file details (size, date, etc.) or only file names are shown.
Transport Bar. Works with selected media item. Controls are Play, Pause, Stop and Repeat.
I/O Button. Directs output to any audio output, or to play thru any track selected in Arrange View.
Pitch Wheel. Adjusts pitch of selected item on playback. Use the options menu to set pitch shift knob
range (by up to plus or minus 12 semitones) and behavior (continuous, quarter tones, or semitones).
Tempo Options. Allows you to set tempo match off, or on, or to half, or to double.
Volume Fader. Adjusts volume of playback of selected item.
Although more commonly used for finding and inserting media files, the media explorer can also be used to find,
and open, existing .RPP project files.
Note that the media explorer is dockable. To do this, choose the Options, Dock media explorer in docker
command (or use the right-click context menu).
Click anywhere on the displayed waveform to play back from there. Use the mousewheel to zoom in and
out of the media peaks horizontally. To adjust the height of the waveform preview, click and hold the
mouse on the top edge of the preview area, then drag up or down.
You can also scroll by holding Shift while you drag the mouse left or right. You can mark any time selection
by clicking/dragging over the preview display To move a selection left/right, hold Alt and drag the mouse.
Display of waveforms can be turned on and off in the Options menu, Always show waveform peaks
for selected media.
Other playback/waveform Options include Display preview position in tenths of second and Auto
stop preview after adding media.
Enabling Options, Auto advance to next file after preview will cause all files displayed in the media
explorer main window to be played in sequence, provided that the repeat button on the transport bar is set off.
By clicking on the I/O button (next to Transport Bar), you can direct the Preview to any audio output. The
I/O button menu also includes an option to play the previewed item through a selected track.
The Pitch rotary control adjusts the pitch of the item being previewed. Double-click to reset. The Options
menu Pitch shift knob range command allows you to set its range to +/- 2, 6 or 12 semitones and to set
its behavior to Continuous, Quarter tones or Semitones.
The Options menu includes two toggle options to Preserve pitch when tempo matching and Reset
pitch shift when changing media.
To avoid possible clashes of tempo, you can select an option (including Tempo Match Off and Tempo
Match On) from the drop down list in the preview area. There is also a toggle option to Start on Bar.
4.4 Inserting an Audio File as a New Take or Item
Selected media items can be inserted into the current project from the media explorer's main window by right-
clicking over the file name and choosing from the options offered (see below). The choices are:
Insert into project (on currently selected track, at current cursor position)
Insert at time selection (stretch/loop to fit) (if a time selection is currently active)
Insert into project on a new track (at current cursor position)
Insert as take in selected item (requires an item to have been selected)
Use as media source for selected item in place of that item's existing media source
Use as media source for selected item (stretch/loop to fit) in place of item's existing media source
Preview (plays item but does not insert it).
Show in explorer (Windows)/finder (Mac)
A quick way is to double-click on the file name, or to
select it and press Enter, or to drag and drop – but it
isn't quite that simple! Using any of these methods will
cause a default action to be automatically applied.
You can determine that default action by using the
media explorer's Options, Default action (double-
click or Enter key) command. This menu is shown
here (below right). It might seem strange at first,
because it includes options for both media files and
(.RPP) project files, both of which will most likely have different needs.
Choose one of Insert media (if media item) or open project (if .RPP
project), Start preview, or Do nothing.
Specify for media items whether to Insert media on selected track or
insert media on new track. Note that any metadata contained in FLAC,
OGG or OPUS files will be imported with the media item.
Specify for project (,RPP) files whether to Open projects in current tab or
Open projects in new tab.
Note also that the Options menu includes the option to Apply preview
volume to inserted media item.
As well as (or instead of) importing entire individual media items, the media explorer makes a number of other
choices available. These are explored in the table below:
Media explorer databases can be included in your export configuration settings (Options, Preferences,
General): see also Chapter 22.
Note: This method can be used to replace an existing source media item with part of another item. After
selecting the replacement item in media explorer, click and drag in the waveform preview area to select the
required part of that item, then follow steps 2. to 4. above.
4.7 Automation Items
Automation Items can be previewed in, and inserted into projects from, the Media Explorer. See also Chapter 18
for more information.
4.8 Importing MIDI Files
To preview a MIDI file in media explorer, first create a track and insert a virtual instrument or synthesizer into
that track's FX chain. You can then select any MIDI file in the media explorer and preview it. You can also select
any part of a MIDI file to import: use the same techniques as those described earlier in this chapter. Right-click
over the file name to choose one of the insert options, or just drag and drop. You can also import MIDI files by
dragging and dropping from Windows Explorer, or use the Insert, Media file... command.
MIDI File Types
The two main types of MIDI file are Type 0 and Type 1. REAPER recognises both. With Type 0, all MIDI events
and data are stored in one track, but individual channel data is retained. A single track Type 0 MIDI file can
contain up to 16 channels of data on the one track. Type 1 files can contain any number of tracks, with each
track containing data on one or more channels. Type 1 is more suited than Type 0 to larger arrangements. For
example, you may wish to use several drum parts on a single channel, but with each on a separate track.
Importing Type 1 MIDI Files
To understand how REAPER handles imported MIDI items, let's work thru some fairly simple examples. We'll take
the example of a simple Type 1 MIDI file that was created with two tracks. Track 1 contains data on Channel 1
only, and track 2 contains data for two different instruments on channels 2 and 3. There are a number of
possibilities as to how we might wish to import this into our REAPER project:
We might want each track/channel combination imported on to a separate track (three tracks in all).
We might wish to keep the original structure and import the file as two tracks.
We might want all three channels of data imported on to a
single track.
Let's see how we might approach this. This example assumes that
you have your Media/MIDI preference for Import multichannel
MIDI files set to Always prompt ...
1. As you are importing a type 1 multitrack MIDI file into REAPER,
you are asked if you wish to Expand the MIDI tracks to new
REAPER tracks.
2. If you enable this option and click on OK, you will then
be presented with two further options.
3. If you select Single-channel items on multiple
tracks, a separate REAPER track will be created for each
MIDI file/track combination that contains MIDI data – in this
example, three (because our example MIDI file contains data
on channels 1, 2 and 3). The imported file will appear similar
to this (example 1):
If, however, you instead select Multichannel item on a single track, then you will get this (example 2):
All the MIDI items are placed in their correct channels on to a single track. This gives us the opportunity if we
wish to do something quite clever. You can right-click over the item and choose Item processing, Explode
multichannel audio or MIDI items to new one channel items. This causes this to happen (example 4):
The originally imported MIDI item is retained but muted, and its track becomes a folder which contains the newly
exploded MIDI items (one for each channel of MIDI data). Folders are explained in detail in Chapter 5: for now,
just note that you could insert a virtual instrument and/or other plug-ins such as ReaControlMIDI (see
Chapter13) in that folder's FX chain and use them to control and play back all of the MIDI items.
Importing Type 0 Files
This next example examines your options when importing a single track type 0 MIDI file into REAPER. Let's
assume that this file contains MIDI data on, say, 3 channels.
When you import the type 0 MIDI file into your project,
you are not prompted with the question about expanding
MIDI tracks: the file by definition contains only one track,
and so the question would be irrelevant. Instead, you are
straight away asked whether you wish to place a
Multichannel item on a single track or Single
channel items on multiple tracks.
By way of illustration, regardless of how many channels
contain MIDI data, choosing the single track option would produce an outcome similar to that shown below
(example 5). As in example 4, this item can be exploded into a folder containing a separate track for each
channel if you wish.
If (at the MIDI import prompt) you choose the multiple tracks option, you will get a separate track for each
channel that contains MIDI data. Thus, an item containing data on three channels would produce this:
CD Audio (.CDA) MPEG Audio (,MP2, .MP3) LCF Capture Video (.LCF)
DDP (.DAT) OGG Vorbis (.OGG, .MOGG) Quicktime (.MOV, .QT, .M4V, .MP4)
FLAC (.FLAC) Recycle (.RX2, .REX, .RCY) WebM (.WebM)
MIDI (.MID) AVI Video (.AVI) WAV (.WAV, .W64, .BWF)
MIDI System Exclusive Message MPEG Video (.MG, .MPEG) AIFF (.AIF, .AIFF)
(.SYX) WMV/WMA Video (.WMA, .WMV) WAVPACK (.WV)
MIDI Karaoke (.KAR) MK Video (.MKV)
Solo Defeat
Solo Defeat can be used to ensure that a track will still be heard even when another track or track selection
is soloed exclusive.
The Mute and Solo control context menus
The options shown above are also available by
right-clicking over the Mute and Solo buttons
respectively. These context menus are shown
on the right. They can be applied to an
individual track or to a selection of tracks.
Bulk Track Mute/Solo
To mute or solo a range of tracks in one action, click and drag in the TCP from
the mute or solo button of the first track in the range to the same button on
the last track in the range, then release the mouse button. Repeat this action to reverse this.
Right clicking over the volume fader of any track or folder will
open a window displaying volume and pan faders not only for
the track itself but also for any sends and receives associated
with that track. An example is shown here.
Right clicking over the Pan fader opens a window which can be
used to change that track's pan law. This subject was discussed
in Chapter 2.
Tip: By default, double-clicking on a track number in the track
control panel will cause all media items in that track to be
selected. You can change this behavior if you wish on the
Mouse Modifiers page of your Preferences. For more
information about customizing mouse modifiers, see Chapter 15.
The more you work with REAPER, the more you will realise how very many preferences settings there are, so
many that it can sometimes be difficult to remember where to go for a particular setting.
To help you there is a text box and a Find button near the bottom of the Preferences window. You can enter
any word or phrase in the box, click on Find and the first occurrence of that word or phrase will be shown. Each
time you click the Find button the next occurrence of that word or phrase will be shown. The item will be
displayed with a colored highlight. In the example shown here, a search for sends has turned up some
information about various options for setting the default parameters for track sends when they are created.
5.6 The Theme Adjuster: Custom Colors
The Theme Adjuster is introduced in
Chapter 2. You should familiarise
yourself with that section before
reading this one.
Run the Theme Adjuster script and
use the left or right arrow near the
top of the window to navigate to
Custom Colors.
You are presented with a choice of
any of six color schemes: selecting a
scheme causes its palette to be
displayed above, as shown here.
You are the able to make any
selection of tracks and click on any
color on the palette to apply that
color to the selected tracks.
Notice that near the bottom of the
window are two further options – to
Dim all assigned custom colors
or to only Dim custom colors on
selected tracks. These can be
used to make less bright the tracks
that you have colored using the
theme adjuster.
These options can also be applied to
tracks that have been colored using
the color picker (see next section).
Anything that you do to the folder will be done to the entire submix. For example, if you adjust the volume
up or down, the volume of the submix will be adjusted up or down. If you add an effect such as a
compressor to the folder then that effect will be applied to the submix.
Before we see exactly how a folder and its child tracks are set up, there's one more scenario to consider.
Even when you have a folder which contains a submix of other tracks, you can still use buses for the folder
itself or for individual tracks inside the folder (see
right). In this case our folder (submix) still consists
of the same three tracks as before. In addition,
however, a send has been created from the folder
to an FX bus, perhaps to add reverb to the submix.
We'll see an example of this soon.
There are three types of send – Post-Fader (Post
Pan), Pre-Fader (Post FX) and Pre FX. These
are explained in Chapter 17 and illustrated by the
flow charts at the end of Chapter 6. For the time
being, accept the default option, Post-Fader
(Post Pan).
5.13 Track Folder Essentials
When a number of tracks are collected within a folder, you will probably want to use both the individual track
controls and the folder controls. For example, you can use the Volume controls for individual tracks within a
folder to set the volume levels for the different tracks relative to each other. You can then use the Volume
control for the folder itself to control the overall combined volume level of the tracks in that folder. In fact, you
can use all of the folder track controls (mute, solo, etc.) to manage tracks within the folder.
The example illustrated (right) shows that a folder called Guitars has been added to our All Through the Night
project. This folder contains the two guitar tracks. The
faint peaks that you see in the folder's lane in arrange
view represent the combined contents of the folder's child
tracks. This can be disabled on your Preferences,
Appearance, Peaks/Waveforms page. Identify the
little icons that you can see below the track number of
each item in the track control panel. These are used to
determine a track's folder status. Identify each of these
three states:
An ordinary top level track (the default). The
icon is displayed as a faint image of a folder.
Hover the mouse over this image and it changes to a+ sign.
A folder track. This is displayed as in the Instruments track above, as a stronger
image of a folder. Hover the mouse over this image and it changes to an X (see
right).
The last track in a folder. A folder icon is shown and the track is
nested. Hover over this icon and it displays a down pointing arrow.
You can click on this icon to set a track's status. Let's look at an example.
Example
Open the file All Through The Night and save it as All Through the Night
FOLDER.
Select track 1 and press Ctrl T to add a track below this, as track 2. Name this track Guitars. Click on the
track’s + button once to make this track a folder. Click on the Gtr Neck track’s + button twice to make it the last
track in the folder. Save the file
If you need to restore a folder as a normal track, click on the folder control icon as many or as few times as are
required to cycle thru the various options until you see the one that you want.
Carefully and slowly drag them a little higher and you will
notice that the horizontal bar is now indented slightly.
Now release the mouse and you will see the two tracks
have been placed as child tracks within a newly created Guitars folder (see below).
If you hover the mouse over the folder icon for the Gtr Neck
track you should see confirmation that it is the last track in
the folder.
The drag and drop method can also be used to add tracks into an existing folder, and/or to remove them.
However, the technique may take a little getting used to. Experiment with this now if you wish.
Notice the small down pointing arrow just above the track number of the folder track (in this case Track2).
This can be used to toggle the
display of child tracks in the
folder between normal (as
shown above left), minimized
and collapsed (as shown below
left).
working with the two guitar tracks enclosed within the track folder. Note that you do not need to place tracks in
a folder in order to be able to group them.
First, you should note that track grouping globally is turned on and off using the Track, Track grouping
enabled command. When this is ticked, grouping is enabled. This command can be used to temporarily disable
track grouping without the need for you to redefine or modify your groups.
In the TCP, select the Bouzouki track. The display in the Grouping window changes (above right), to show the
currently grouped parameters for the bouzouki. In this dialog box, click and select Mute Master. This is
confirmed by the display in the track grouping matrix.
You can define up to 32 groups in a project file. In the example below, a second group has been added, to help
when adjusting the balance between the volume of the vocal track and the various instruments.
Note: There is a check box at the top of the matrix which allows you to toggle on (above left) or off (above
right) the option to Show group details.
Adjust the fader for only one track in a Hold Shift while adjusting the single fader.
group containing linked faders
Define a pan or volume relationship as Select track in the TCP and press Shift G. Click on
reverse for a track within a group Reverse Volume or Reverse Pan as required.
Change an existing toggle parameter Hold Shift while clicking on the appropriate button
relationship (such as Solo, Mute or Record (such as Solo or Mute) for the individual track.
Arm) into a reverse one
Link more parameters for tracks in an Open the Grouping dialog box for the group and select
existing group the required parameters.
Reset a track's volume, pan or width to its Double-click on the volume, pan or width value
default value and adjust settings for other displayed in the track panel.
group members accordingly
Add another track to an existing group Select the track in the Track Control Panel and press
Shift G. Display the drop down group list and select the
required group. Select the required parameters.
Remove a track from an existing group Select the track in the TCP and press Shift G
Unselect all selected items except Group enabled
Enable/Disable group Press Shift G, select the group from the drop down list
then click in the Group enabled box.
Tip: When playing back a song, you may from time to time wish to reset your VU Peaks without needing to stop
and restart playback. To clear one peak, simply click on the peak number shown at the right hand end of the VU
meter in the TCP or top of the VU in the MCP. To clear all peaks, hold down the Control key while you do this.
Define and link any number of non Click in TCP on first track to be selected. Ctrl click one by
contiguous tracks in a temporary group one on each other track to be included in the selection.
Adjust a TCP control for all tracks in Adjust fader or rotary (Volume, Pan) or just click (e.g. Mute,
temporary group (e.g. Volume, Mute) Solo) for any one track in the group.
Adjust control for only one track Hold Shift while you adjust fader or rotary (Volume, Pan) or
without deselecting the group just click (e.g. Mute, Solo) for any one track in the group.
Parameter Comment
Volume Adjust the volume fader on the VCA master to adjust the volume of all slave tracks in the VCA
group. Note that the slave track faders themselves will not be moved.
Pan Provided either Stereo balance/mono pan or Stereo pan has been selected as the pan law,
changing the panning on the VCA master will cause the panning of all slave tracks in the group
to be changed. The pan faders on the slave tracks, however will not be moved.
Parameter Comment
Pre FX Slave If the grouping matrix option Flag: VCA pre-FX slave is selected for any VCA slave track,
then the signal volume will be adjusted before it is fed into the that track's FX chain.
Automation Volume, pan and width changes on slave tracks can be automated by adding envelopes to the
VCA control track. The envelopes will be applied to all slave tracks in the group. Slave tracks
may also have their own automation envelopes. Chapter 18 includes more about envelopes.
Mute A mute envelope can be added to the VCA master. This envelope will be applied to all VCA
slave tracks in the group. Automation envelopes are explained in Chapter 18.
Note: Defining a track as a VCA master causes that track's volume and pan faders to control volume and
panning on all of its slave tracks. Keep in mind that a VCA control track is not a track folder or submix. No audio
passes thru a VCA master/control track. It would make no sense to add audio FX directly to a VCA control track.
Note that if any of the VCA slave tracks already contain a volume envelope, then the values on the VCA master
track envelope will be added to those already on the slave track envelope.
These actions can applied to VCA master pan, width and/or mute envelopes as well as volume envelopes.
VCA with Overlapping Groups
Conventional grouping does not fully allow for overlapping group membership. For example, tracks 1 to 3 volume
faders could be grouped as masters and slaves in one group, tracks 4 to 6 in a second group, but you could not
have another group to control volume faders on, say, tracks 1 and 6 only.
VCA grouping makes this possible. You could create two ordinary groups – one each for volume control on tracks
1 to3 and tracks 4 to 6. You could then create a third VCA group (Master) to control volume on tracks 1 and 6
only (Slaves).
Note also that a track that is a VCA master in one group can also be a slave in another VCA group: this technique
is known as chaining.
5.17 Default Toolbar Summary
REAPER's default toolbar is located near the top left corner of the screen. The various tools and their functions
are introduced throughout this guide as and when they are required: in addition, you might find the summary
diagram below helpful. The actual appearance of the individual icons will depend on which color theme you are
using. Themes can be selected using the command Options, Themes and then making your selection from the
list available. These are the icons used by REAPER’s default theme.
Expand/collapse folder Use the +/- button to the left of top level folder names.
contents list
Add a new folder Right click over Folders (see above) and choose Add folder. Type a name in the
Create New Folder text edit box and click OK.
Add a new smart folder Right click over Folders (see above) and choose Add folder. Type a name in the
Create New
Folder text edit
box. Type your filter
in the Filter text edit
box. OR and NOT
can be used as
keywords. An
example is shown
here.
Add FX to a folder Drag and drop from FX list in right-hand pane. Ctrl click can be used to build a
(including smart folders) selection.
Change order in which Right click over folder name. Choose Move to top, Move up, Move down or
folders are listed Move to bottom from the context menu.
Your Appearance, Media preferences settings determine if and how the various buttons are displayed for
individual media items. These are covered in detail in Chapter 22, but for now just notice that available item
icons (buttons) include its lock and mute status, its FX chain, its notes and properties.
If you enable the option Draw labels above the item rather than within the item then the buttons will be
displayed (with the item name) above the item. You can, however, also specify as an exception that When
media item height is less than label height the label should be moved to inside the media item. If you
disable these options, the labels (if displayed) will always be superimposed on the media item itself.
6.5 Managing FX: Tips and Tricks
The table below summarizes more shortcuts and techniques to use when working with track and item FX (unless
the track or item is locked).
If you encounter circumstances in which PDC is creating problems (for examples, dropouts or excessive latency)
then it can be disabled for any plug-in from the pin connector button (shown above labelled “2 in 2 out”) context
menu. Note too that PDC is disabled when feedback routing is employed.
Selected FX Freeze
Other options, available from a track's FX chain right click menu, are to freeze a track up to its last on-line or
selected FX, as you wish - see above. In this case, only the first three FX have been selected. The action Freeze
track to stereo, up to last selected FX will cause these three FX to be frozen on to the track. These FX will
be removed from the track's FX chain. The other effects will not be rendered to the new audio item. If this track
is later unfrozen, the removed FX will be restored.
One useful action (accessible from REAPER's Action List window) is View: Show track freeze details. This can
be used to display freeze history and details for any frozen track. Chapter 15 explains in detail more about
actions and about how you can assign them to toolbars or to your own shortcut keys.
Notes:
1. The Trim Volume envelope (not shown) comes after the Track Volume envelope and before the
Send/Hardware Out Pre Fader (Post FX).
2. The track mute button is shown more than once (near the beginning and near the end of the chain). This is
because it does not only mute at the beginning (so that for example, all media items are effectively muted), it
also mutes at the end (so that, for example, a synth in the track FX chain that is fed MIDI data via a receive
from another track is also muted).
3. If track mute and track solo buttons are both enabled, then solo overrides the mute.
4. If the Master is soloed, direct outputs to hardware from tracks/folders will not be processed.
If an item with any FX is split, then both the resulting items will contain the FX. This can be changed in your
Options, Preferences, Media page by disabling the option Duplicate take FX when splitting items.
Heal Split Items
To reconnect media item that have previously been split:
Select the media items in the track.
Right click over any media item within the selection and from the menu choose Heal splits in items.
Heal is different from Glue. In short, heal restores items to their original state, whilst glue renders them to a new
file. Glue will be discussed later in this chapter.
Move Items
An item or selection of items can be moved by clicking and dragging with your mouse. In addition the following
key strokes are available for more precision:
You might also wish to enable Show overlapping media items in lanes on the Options menu. The
maximum number of lanes to be used can be set on the Appearance page of your Preferences.
Note: This feature is often referred to as “nudge”. With REAPER, nudging is relative to the screen display. For
example, if you are zoomed in very closely on an item, then nudging left or right will move or slide it backward
or forward thru a much smaller unit of time than if the view was zoomed out to the full project.
Tip: Double click on a track’s index number in the Track Control Panel to select all the items in that track.
Marquee Modifiers
Modifier keys exist for changing the marquee behavior when you right-click and drag. By default, these are::
You can change any of these modifiers and/or add others of your own choosing, using the Mouse Modifiers
page of your REAPER Preferences. More information about how to do this is given in Chapter 15.
Snap offset: The amount of offset from the default snap position if snapping is enabled.
Item timebase: Defaults to project timebase but can be changed. Options are Track/project
default. Time, Beats (position, length, rate), Beats (position only), and Beats (auto-stretch
at tempo changes).
Item mix: Effectively whether to replace or mix when an item is placed over another. Defaults to
project default.
Loop source:whether item is a loop.
Mute status: whether or not the item
is muted.
Item lock status: whether or not the
item is locked.
Whether or not to apply autofades at
item start and end.
Whether or not to play all takes.
Obviously, this only applies where two
or more takes exist.
Active take file name.
Active take name. By default this is
the file name, but you can change this.
Pitch adjustment.
Start in source: sets start time.
Playback rate. For example, type x2
to double the playback rate of all items
currently selected.
Whether to preserve item pitch when
the playback rate is changed.
Adjust Volume and Pan, Normalize.
Channel mode: discussed shortly.
Whether to invert phase.
Add or remove Take envelopes.
Which algorithm is to be used for pitch
shift and time stretch.
Stretch marker default fade size
and preferred Mode (see below right).
The option to use only a section of the
media item.
Options to reverse the item.
Display the media item source file properties.
Choose a new file to replace the existing source file.
Rename the source file.
Access the Nudge/Set dialog box for this item.
Open the Take FX Chain window for this take/item.
After making any changes, use the Apply button to apply them and leave the
window open, or OK to apply them and close the window, or Cancel to close the window without applying
changes. There is also an option (right-click on title bar) to Apply changes after 2 seconds of inactivity that
you can enable if you wish.
Some of these options – such as Loop Source and Channel Mode – are also available on the Item Settings
menu. In addition, for many of them Keyboard Shortcuts either already exist or can be defined. You will be
shown how to create your own keyboard shortcuts in Chapter 15 when we examine the Actions List Editor.
Tip: To change a property (e.g. playback rate) of several items at once, simply select all of the items then, with
the Media Properties window open, make whatever changes you require.
The example shown above displays item time. Display item ruler is a
toggle command: to remove the ruler, select the item and use the same command to turn off the ruler display.
7.9 Separating Loop Selection from Time Selection
The setting Link loop points to time selection (on your Preferences, Editing Behavior page) determines
whether by default the loop points are linked to your time selection. When linked, this means that when you
make a time selection other than that currently selected, the loop selection changes with it. At any time you can
change this the default behavior by using the toggle command Loop points linked to time selection on
REAPER's main Options menu.
With this option disabled, you can then define a loop by clicking and dragging along the timeline, and a time
selection by clicking and dragging within arrange view. You can also use the Alt key while you click and drag
along the timeline to set both the time selection and the loop selection together.
Item Explanation
Action Choose Nudge or Set. Which of these you choose will determine how REAPER will
interpret the Unit information.
If you choose Nudge, the item will be moved according to the unit specified by the
amount specified. In the example shown above, the item position would be moved 10
ms to the left or right (depending on which Nudge button is clicked.
If you choose Set, the item will be moved to the position specified.
Nudge/Set Determines exactly what will be nudged or set. Your choices are:
Definition Position Whole item: the whole item will be physically moved
Left Trim The item is trimmed from the left
Left Edge The left edge is moved
Right Edge The right edge is moved
Contents The item itself remains static, its contents are moved within it
Duplicate Creates duplicate item(s)
Edit Cursor Moves edit cursor
Whether the movement is left or right will depend on which button is clicked.
If Duplicate and Nudge are selected, you will be able to specify number of copies.
Unit Value Determines the number of units by which the item will be nudged. This information
needs to be interpreted together with the Unit Type selection. In the example shown
above, the unit type is milliseconds and the unit value is 10.
Unit Type Options include milliseconds, seconds, grid units, measures/beats, samples, frames,
pixels, item lengths, item selections and notes. If notes is selected, an additional drop
down list offering various fractions of a note (from 1/256 to whole) is also displayed.
Snap to Unit Whether to enable or disable snapping.
Nudge Left These buttons are displayed only if Nudge is selected. They determine whether to
Nudge Right nudge the item(s) to the left or to the right.
Get Cursor These buttons are only displayed when Set is selected. Get Cursor returns the
Apply Move current cursor position and writes it in the “to:” box. Apply Move moves the item
according to the various options and settings, including the position specified in the
“to:” box.
Mode: Normal
Mode: Mono
(Downmix) (i.e. mixed
to as single mono track)
This is illustrated here, where the end of the first (further left) of the two
adjacent items has been slip-edited to the right, overlapping the other item.
This behavior can be modified in two ways. Disabling auto-crosssfade (on
the toolbar) will stop the crossfade, but both items will still be heard.
Enabling Trim content behind media items when editing (Options
menu) will ensure that only the slip-edited item (the item on top) will be heard during the overlap.
Another technique is to use slip-editing to move the boundary between two adjacent items
(perhaps when an original item has been split). Select both items and hover your mouse over the
boundary between the items to see the symbol shown here. You can then click and drag left or
right to move the boundary.
center, start, or end. The contents rotary can be used to move either of the media items left or
right. The volume control can be used to adjust the volume of the crossfaded items.
Parameter values can also be typed directly into the edit boxes.
Left/right values of the different parameters can be linked or mirrored. Except for start and end,
link and mirror are mutually exclusive options. For example, if shape is linked then changing the
shape of either fade will cause both to be changed in the same way. If mirrored, selecting a shape for
one fade will cause an opposite shape (if one is available) to be applied to the other fade. If start
and end are linked and mirrored, then adjusting either of these controls will change the crossfade
start and end length equally, keeping the center point constant. If length is linked, adjusting the
length of either fade will change the length of both fades equally. If mirrored, lengthening one fade
will cause the other to be shortened by an equal amount. If contents are linked, that control will
move both media items left or right together. If mirrored, it will move them in opposite directions. If
volume is linked, adjusting either control will raise or lower the volume of both items together. If
mirrored, then raising the volume on one side will lower it on the other.
You can choose whether your edits should apply to all grouped items.
You can set the position of audition points before and after the crossfade. Enabling audition will
cause the crossfaded area (together with the pre-roll and post-roll) to be looped when play on the
mini toolbar is engaged. Any other existing loop settings in the project will be retained.
There are also options to solo the track and mute either left or right side of the crossfade.
Right-click over the Crossfade Editor for a context menu.
The mini transport bar at the foot of the window can play,
pause and stop playback, and enable/disable loop audition.
Previous and Next select the previous or next crossfade.
The + button (top) can be used to save the current crossfade
editor settings as a Preset. Optionally, you can include
crossfade length within the preset. Saved presets can be
recalled from the drop down list to the left of this button.
If several crossfades are selected, the crossfade editor will by default apply its settings to the entire
selection. For mouse edits, this can be changed in your mouse modifiers.
Fade/Crossfade Mouse Modifiers and Actions
Both media item fade intersection and
fade/autocrossfade mouse modifiers
(right) can be defined separately for left
click, left drag and double click actions. In
many cases the left drag modifiers are
likely to be of most interest.
The context Media item fade
intersection can be used to apply
modifiers to manage the characteristics of
the intersection itself.
These modifiers can be used when
working with fades or crossfades, e.g., to
enable or disable various options, (e.g.
whether to ignore snap and/or
selection/grouping, whether to stretch
items) or to assign actions (such as
adjusting the fade curve). Other options enable you to adjust the fade curve with the mouse.
Left click and double click modifiers can be used to apply any of a number of additional fade intersection or
auto crossfade actions from REAPER's Actions list. These include actions to change fade/crossfade shapes,
to adjust curves horizontally only or both horizontally and vertically, and to adjust fade curves in various
ways. Search the actions editor to see the full list. For more general information about using both mouse
modifiers and the actions list see Chapter 15.
Note also that the Appearance, Fades/Crossfades page of your Preferences includes various options
which determine how and when fade/crossfade edit handles are displayed (see Chapter 22).
7.24 Grouping Items
Provided that Grouping is enabled – Options, Item
Grouping Enabled command, or Alt Shift G – items can be
grouped together to facilitate working with them. For example,
you can move them together, set them all to a common color,
mute and unmute them, and so on).
Select the items and use G to add them to a group. If you
prefer, you can use the Item grouping button on the REAPER toolbar to toggle grouping on and off.
In the example shown below, three of the six items have been grouped. For grouped items a Grouped icon will
be displayed if this has been enabled in Preferences, Appearance, Media. Even when this preference is
disabled, you will see a thin colored bar above and below all items that have been grouped (see right).
Further items can be
added to a group.
Select any item in the
group, then press
Ctrl G to select the
entire group. Hold the Ctrl key while you click on those items that you
wish to add to the group, then release Ctrl and press G. Note that U
removes a selected item from a group. You can also use the Group
commands on the right click item menu to manage groups.
Example
Here is a simple example. Grouping is enabled as is Selecting one item selects group.
We then right click over any of these items (where the mouse is shown above) and choose Glue selected
items from the menu. As a result, the items are joined into one, as shown below.
One application for gluing items is to join several items together into a new loop source. You'll learn more about
working with loops in Chapter 9. Another use for glue is to render an item, for example, incorporating item gain
and item take FX into the new media item and setting the FX to bypass. When a selection of two or more items
are glued in this way, the FX and so on will be applied to the appropriate sections of the new item.
Note 1: When MIDI items are glued, any item that includes take FX such as a VSTi synth is rendered as audio.
Note 2: Actions are available in the Actions List (see Chapter 15) to ensure that when an item is glued, its
channels will be increased if necessary to accommodate the output of any item FX. For example, if the action
Item: Glue items (auto increase channel count with take FX) is applied to an item with FX which use two
channels for output, then that item will be rendered in stereo (two channels) when glued.
The illustration above is an example of this. The first of two existing media items on a track has been selected.
By holding Ctrl while clicking and dragging further along that track, a copy of that media item is made.
3. Some time later, we decide to make some edits to the first item. These include an adjustment to the item
volume handle, some FX, and a fade out.
4. Finally, we right-click over this first item and choose Item processing, Propagate item to similarly
named items on track to copy these edits to the other items. Any instances of this item on other tracks
will not be affected.
Example 2
1. In this next example, the original item has been copied to create several media items across two tracks.
Notice that each track has its individual settings, such as different panning and FX on one track but not
the other. As well as
this, the original
media item has its
own FX, volume
envelope and pitch
adjustment.
2. The Item
processing,
Propagate item to
similarly named
items command
has been used copy
the features of the
original item to all other similarly named items in the project.
Tip: You can assign one name to several media items all in one go. Select all of the items, press F2 to open the
Item Properties dialog box, type the name in the take name edit box and click on OK.
7.30 Ripple
Editing
The simplest way
to describe ripple
editing is this:
usually, when you
delete part of a
media item, a gap
is left on the track where the deleted item used to be. With ripple editing, the material on the track is moved
over to fill that gap. This is illustrated in the three screen shots below.
track and Ripple edit all tracks. By default, both of these are off. Either one or the other (but not both at the
same time) can be turned on from this menu.
Both off: This is the default mode. Items will not shift when you edit a track.
Ripple edit per track: If this is enabled, ripple editing will be applied when you are editing the currently
selected track(s) but not to any other tracks.
Ripple edit all tracks: If this is enabled, all tracks will be subject to
ripple editing. This means any editing you do to any of the items on any
track will also be applied to all other tracks. This can be used, for
example, for deleting entire sections of songs.
The keyboard shortcut Alt P can be used to cycle between the three
ripple editing modes, as can the Ripple Editing button on the default toolbar. The right-click menu on this
button also includes the options Ripple edit all affects tempo map and Add edge points when ripple
editing or inserting time. By default both are disabled.
In this mode, markers and automation are locked to the items that they relate to, so as you move items the
associated markers and automation move too. Using this mode on multiple tracks is very useful for editing
multitrack recordings of live material - everything that belongs together stays together in sync as you edit.
For instance, if you split the item at a couple of places (so you now have three items) then delete the middle
piece, the remaining pieces join up, but unlike with a normal stereo editor, you can adjust the join by dragging
the ends of the items appropriately. If you want to move material from one place to another, you can split at the
insertion point, drag the material to the right of the insertion out of the way, then make the insertion and drag
the displaced material to join it. All items to the right of the dragged item will stay together and markers and
automation will move correctly too.
Here is shown an example with ripple editing on
all tracks. Ripple Editing, all tracks is enabled.
In the first picture the silence before the music
starts is selected. The command Cut selected
area of items is then applied. The selected
area is cut from all tracks, and the remaining
material is moved to the project start.
Note: Complications can arise if locked items
are included in the selection that is to be ripple
edited. In particular, REAPER needs to know
whether the ripple editing should be applied to
the locked items. The Editing Behavior
preferences page includes options for dealing
with this – see Chapter 22.
Tip: Shortly in this chapter you will be shown how to use mouse modifiers to determine how REAPER behaves
when an item or selection of items is dragged. This includes options to select and apply any of the three ripple
editing states when the item(s) is/are being dragged,
out more about the various Mouse Modifier default settings by browsing thru the Editing Behavior, Mouse
Modifiers section of your REAPER Preferences.
From the Context list, select a topic, such as Media item left click, Media item left drag, Track click, Ruler click,
Arrange view right-click, etc. A list of default mouse actions relevant to that context will be shown. Double-click
on any entry in the Modifier column to
assign an action to that modifier.
Shown right are the default actions
associated with the Media item left
drag context. For example, by default
dragging a media item will move it,
ignoring any time selection. Holding Ctrl
as you do so will copy it – and so on.
You can change the behavior of any
modifier: select it and double-click in the
behavior column for a list of options. For
double-click actions, there is also the
option of choosing an action from
REAPER’s Action List.
For example, you could define Shift Win
as a modifier to restrict item movement to
vertical only when moved or when copied.
You could use Ctrl Win for adjusting an
item's volume, and so on. To do either of
these, you would need to double-click on
the modifier in the list, then make your
choice from the list of commands and
actions offered.
The Context drop down list includes the following options for working with media items.
Media item (left click, left drag and double-click)
Media item bottom half (left click, left drag and double-click)
Media item edge (left drag and double-click)
Media item fade/crossfade (left click, left drag and double-click)
Many contexts have an option associated with
them: this will be displayed below the table, just
above the OK button. In the example above, you
have the option whether or not to treat the label
area above the item as empty track space.
The Import/export button can be used to save
or recall your mouse modifier actions, either for
the currently selected context or for all contexts.
Media Item Left Click Modifiers
Shown here are the default mouse behaviors
when you click on any media item. For example,
the default behavior for a simple click is Select
item and move edit cursor. On the other hand,
Alt Click will select the item ignoring grouping.
If you wish, you can swap these assignments
over, so that a simple click will select the media
item without moving the edit cursor. You can also
change any assignment to any of the available
options. To do this, just double-click in the list on
the item that you wish to change, then select your
preference from the list (see right). You will find more information about customizing mouse modifiers in Chapter
15.
Dynamic splitting will be examined in more detail in Chapter 9, in the context of tempo based music production,
but when applied to this particular task it can be used as explained in the table below.
Start with settings similar to those shown here and adjust then as necessary.
Summary of Dynamic Splitting Parameters
When used in this way, dynamic splitting basically employs a noise gate to tell REAPER how often and
where to split your media items and which areas are to be removed.
Hysteresis This setting can be used to adjust the level at which the gate closes relative
to that at which it opens. Raising the hysteresis figure closer to or even
above 0dB will have create more splits.
Display gate threshold in If enabled, this causes faint lines to be superimposed on the selected media
media items items to show the threshold level.
If working with a selection of grouped items, you have the option to Split grouped items at times of
selected item splits.
You can also set the gate to be applied post-FX by enabling the option Run signal through track FX for
detection. This, for example, could be used to avoid chopping off any delay or reverb tails caused by track FX.
If you also run the action Transient detection sensitivity/threshold a pair of faint horizontal lines will be
displayed to give you visual feedback on your gate settings (as shown, above).
Another option is Use zero crossings when splitting. This can prevent audio clicks on playback.
A simple example is shown below. Tracks 6 and 7 are a single acoustic guitar which has been set up with two
mics. You can visually identify the frequency differences between the two tracks.
Spectral peaks can be helpful in recognizing content. For example, the lower and upper registers of a clarinet will
show as different colors. A flute will be different again. Some other possible uses are:
To identify and pinpoint precisely unwanted noise (such as low end hum), or frequency spikes that you
can hear in a track, or a particular event in a track, such as a percussion hit.
To identify the precise location of a
note (e.g. when a distorted guitar
has been recorded).
To check the frequency at which a
track's sounds are peaking for
possible conflict with other tracks,
or to identify precisely where
frequencies may need to be EQ'd.
To check (for example) bass instruments for notes that are individually quieter or louder than intended.
You can find more detailed information about these concepts here
www.mat.ucsb.edu/~b.sturm/MAT201A/presentations/Fri/OhnandPark.pdf:
Use the Options, Peak display mode, Show spectral peaks command to turn the display of peaks on and
Options, Peak display mode, Normal peaks to turn them off. Another peaks display mode option is to
Show spectrogram: this will be considered in the next section.
Use the command View, Peaks Display Settings to open the window shown below.
You can use the Display mode dropdown to select
Peaks, Spectral Peaks, Spectrogram or Spectrogram
+ Peaks. Note that this and other settings are global
and will apply to all open projects.
There is an option to display peaks to sqrt-scale.
The Display gain slider can be used to increase or
decrease the peak height, but do not affect volume.
In any mode except Peaks, right-click on the color
display to open a context menu. Options include:
Load spectogram preset: lets you select a previously saved
set of settings.
Save spectogram preset: saves current settings as a preset.
Reset to defaults: resets settings to their default value.
Reverse spectrum :reverses the color spectrum.
Clamp hue at maximum brightness.
The four horizontal faders freq log, curve, contrast, and
bright can be adjusted to modify the display. For example, to better emphasise low frequencies, drag the
freq log fader fully to the right.
Enabling spectral peaks will roughly double peak file size. Generating these peaks uses a lot of RAM, especially if
spectral peaks are displayed while recording. Spectral peaks can be enabled/disabled on a per track basis via a
Track performance option (Prevent spectral peaks/spectrograms) on the right-click TCP context menu.
Preferences
A number of options affecting spectral peak behaviour are included on the Media page of your Preferences.
These include an option to Always generate spectral peak information. Be aware, however, that
enabling this option can considerably increase RAM usage.
Peak Display Controls
In order to use this tool effectively you will need to understand and master its various controls. For example, if
you are focussing on low end rumble you will probably want the display to focus on the lower end of the
frequency spectrum. If dealing with high end resonance, you will wish to concentrate on higher frequencies.
Here is a summary of the controls available, in many cases by clicking and dragging your mouse. Getting to grips
with them all can be a bit tricky at first … you always have the Reset to defaults option!
Remember that the media item will be made up of a whole range of frequencies (as can be seen, for example, if
you place, say, ReaEq in a track's FX chain). Spectral peaks are used to identify only the most dominant
frequency at any point in time.
The Frequency Range (20hz to 10khz)
The display is divided into seven frequency bands. To adjust how the frequency range is divided between
these bands, click and drag the mouse left or right on the border between any two bands. Dragging right
helps you focus on higher frequencies, left on lower ones.
To adjust all colors used in the display, click and drag left or right over the color display.
To adjust only low colors, click and drag on left edge of color display.
To adjust only high colors, click and drag on right edge of color display.
Double click to restore the default display.
Presets
The Save spectral view and Load spectral view commands allow you to save and recall up to ten
configurations as presets. The first five of these can also be loaded using actions (and therefore can be added
to custom toolbars and/or menus, and/or be assigned keyboard shortcuts.)
Spectogram + Peaks Mode
In spectogram + peaks mode, media items are displayed as both peaks and
spectograms, as shown on the right.
Spectral Peaks Mode
In spectral peaks mode, media item waveforms are colored
dynamically according to the dominant frequency.
By default, the color spectrum occupies the whole frequency
range. You can change this, for example, to use the entire
color range for each individual octave: this can help you to
focus on much smaller variations in frequency.
As an example, both of these images (below left) depict the
same media item. The first (top) example uses Set range
to full spectrum.
The second example
uses Set range to
full spectrum every
octave.
These options are
available on the right-
click context menu
(shown above right). A
Reverse spectrum option is also available.
Spectogram Mode
In this mode, media items are displayed as a spectogram. You can use for spectral editing. The display faders
(freq log, curve, contrast and bright) are useful here, especially the freq log control. Here is an example:
Note: If you find the number of controls and options intimidating, don’t worry. Not every job requires all of
these controls to be employed. Start simple!
Example
This picture (left) shows the vocal at the end of a line that ends with a “T” sound. The
rightmost small shaded area represents an unpleasant “TT” where the singer has not let go
of the word. If we mute or remove the whole area, we will create a hole. The trick is to find
and remove only the unwanted part.
Throughout this
process, we make use
of the Bypass spectral
edit and Solo spectral
edit options during
playback, for
First, add a spectral edit to Now adjust area and lower Introduce fades to both time comparison purposes.
the problem area. gain until it sounds right. and frequency selections.
Tip: You can Glue items to make your edits permanent and remove the spectral editing box. Glueing creates a
new media file but does not remove the original file from your hard drive.
Tip: Spectrogram display can be enabled/disabled on a per track basis using the Track performance
options, Prevent spectral peaks/spectrograms option on the right-click TCP context menu.
Peaks Display Options
Several peaks display options can also be found on the Options, Peaks display mode main menu:
Show normal peaks Scale peaks by square root (toggle) Show spectogram
Show spectral peaks Rectify peaks Peaks display settings
Show spectogram and peaks
Notes:
1. Spectral display is pre track FX but post take settings. For example, it reflects changes in pitch from the Item
Properties dialog box or from a take pitch envelope, but not from a VST plug-in such as ReaPitch.
2. Overlapping spectral edits on the same media item are allowed.
3. The action list includes several actions which can be useful when working with spectral peaks or spectrograms
displayed. Here are some examples:
Peaks: Build any missing peaks Peaks: Rebuild all peaks
Peaks: Rebuild peaks for selected items Peaks: Toggle spectral peaks
Peaks: Toggle spectrogram Peaks: Toggle spectrogram and peaks
Peaks: Rectify peaks Peaks: Scale peaks by square root (toggle)
Track: Prevent spectral peaks/spectrogram Spectrogram: Toggle show spectrogram for selected items
Any of these can be assigned to shortcut keys or toolbars if you wish – see Chapter 15.
Note: If you are using the REAPER 6 color theme default layout, the mute button is
located on the top right corner of the track panel, as shown here.
Here's a really interesting trick you can do with takes. Shown here is a vocal track with an overdubbed vocal
harmony for just a short part. Both takes at that point have had individual pan and volume envelopes added, and
some delay and perhaps pitch shift FX to the second take's FX chain.
After selecting both these media items, right-click over either one of them and choose Item settings then Play
all takes. We can thus have our complete vocal and harmony mix on one single track! This setting is also
available from within the Item Properties window.
8.6 Editing and Comping Multiple Takes and Multiple Tracks
You don't need to explode takes to multiple tracks in order to manage them. In this section we'll see some of the
ways in which you can manage your takes all within a single track. In overview, this essentially consists of
selecting the best parts of each take and comping them together into a single take of your preferred selections.
Slice and Dice
When you choose the Option to Show all takes in lanes (when room) there is a neat technique known as
slice and dice that helps you combine the best of each take together, to play as one track. To do this, you simply
Split the track in as many places (and at the exact points) that you think appropriate, then select from each
slice your preferred section. The different methods that you can use for splitting are explained in Chapter 7.
A clever trick is to make all of the items that together make up a complete set of preferred takes a different color
from the others. To do this, first choose your takes and select all of the media items (use marquee to do this),
then choose from the right-click menu Item and take colors, then Set active take to custom color or Set
active take to one random color. These commands are also available from the media item right-click context
menu. An example of how this can be used is shown below.
Suppose that one of these takes
consists of an overdub of just a small
portion of the song. The option to
Display empty take lanes (Options,
Take lane behavior menu) can be
enabled to ensure that your takes are displayed more clearly. An empty part of a take (such as exist in Take 2
here) cannot be selected unless you
enable Allow selecting empty take
lanes (Options, Take lane behavior
menu).
Note 1: If you prefer not to see the
empty take lanes, you can hide them
by disabling Display empty take lanes (Options, Take lane behavior menu).
Note 2: When using “slice and dice” with MIDI takes, you should disable the option Allow trim of MIDI
items (Preferences, Media, MIDI), especially if you will need to adjust split positions.
Comp Sets
You can save multiple comp sets for
individual tracks (as shown above) and
for multiple tracks (as shown right).
This shows two vocal tracks, each of
which has been sliced and diced and
colored at random.
With all media items in this set selected (use marquee), you can right-click over the selection and choose
Comps then Save as new comp from the context menu. You will be prompted for a name: this will be added
to the Comps menu and can be used to recall this comp. This makes it easier for you to compare different take
combination to arrive at the best outcome.
Saved comp sets can be applied by selecting the media items (all takes) of the relevant tracks in arrange view,
then right c licking over the selection and choosing Comps then the comp name from the context menu.
Here is a summary of the commands on the Comps sub-menu.
Command Explanation
Save as new comp Saves your current selection of takes on all currently selected tracks as
a new comp set. You will be prompted for a name.
Rename active comp Lets you change the name of current active comp set.
Remove active comp Deletes selected comp set and removes it from the Comps menu. Does
not remove any takes or media items from the project itself.
Crop list to active comp Removes other comp sets from comps menu list.
Move active comp to top lane Moves all items in take selection to the top lane of its track. This action
respects both item grouping and undo.
Comp names
Your comps will be listed at the end
of the Comps menu (see example
right). Choosing any of these will
cause that set of takes to be
selected.
Implode items across tracks into Copies all selected items to a single track as a series of takes. This
takes: command turns this ...
… into this:
Implode items on same track Moves all selected items to the same start time as a series of takes
into takes: on the same track. This command turns this …. into this:
Paste to takes in items Pastes previously selected and cut or copied takes into selected
tracks as a new item.
There are also additional actions, not shown on the menu, that are available in the Actions List.
In this example, we have three takes of a media item, which has also been split into three sections. All three
takes share the same name (Vox.mp3). Notice that some FX have been added to the active take for the first
section, together with an envelope and a fade out.
By choosing Item processing, Propagate take to similarly named active takes on track from the
context menu, we ensure that these features are copied to the other active takes on this track:
Notice that although the envelope is copied, the envelope points are not.
Command Explanation
Apply track/take FX to items as One use for these commands is to free up CPU if your system is
new take - creates a new stereo becoming stressed. Consider an example of a track with some FX in
take for the selected item. its FX chain, say EQ and a compressor:
Apply track/take FX to items as After applying track FX (mono
new take (mono output) – output), we have a new take with
creates a new mono take for the the FX applied to it. The original
selected item. FX chain can now be set to
Apply track/take FX to items as bypass:
new take (multichannel output) This reduces CPU overload, and
– creates a new take for the opens up creative options- e.g.
selected item, with the same number you can select Play all takes
of channels as are defined in the then use pan and volume
track's routing window. envelopes to vary their placement
Apply track/take FX to items as and relative volume throughout
new take (MIDI output) – the song.
creates a new MIDI take on selected
MIDI item.
Render items as new take Renders the existing media item as a new take. Any MIDI items with
take FX (such as VSTi) will be rendered as audio.
Reverse items as new take You can have some fun with this one. It does what it says – it adds a
new take to the media item with the material reversed. Here's an
example. Starting with this …
As well as these commands, REAPER's Action List (see Chapter 15) includes a number of actions you can use to
deal with empty take lanes. These actions (which can be assigned to shortcut keys or toolbars) are:
Item: Remove all empty take lanes
Item: Remove the empty take lane after the active take, and
Item: Remove the empty take lane before the active take
Don't forget how many options you now have … slice and dice, play all takes, volume, pan and mute envelopes,
pitch and/or playback rate shifting, take FX … and so on!
Footnote: Confused about colors?
REAPER's Preferences,
Appearance, Peaks/
Waveforms settings includes
many color options. These
options are disabled by some
color themes, including the
default theme. Where they are enabled, their order of precedence is not obvious.
In the example shown here, we have asked for media item peaks and backgrounds to show both track colors
and take colors. Clearly to show both of these will not be possible.
In cases like this, the option furthest to the right will take precedence. In other words, for a particular media
item, if takes have not been colored then the track colors will be used. If, however, take colors have been
specified, then these will take precedence over track colors.
8.10 Managing Comps with the Project Bay
Takes and comps can also be managed from within REAPER's Project Media/FX Bay. The Project Bay is a one-
stop center which allows for the convenient management of a project's media items, FX, item groups, takes and
comps. It is explored and explained in detail in Chapter 12 of this User Guide.
To open and display the Project Bay, use the View, Project Media/FX Bay command. Click on the tab labeled
Take Comps to display the takes and comps management section.
Clicking on the Options button (bottom right)
displays a menu, which is explained in detail in
Chapter 12. For now, notice the option to
Mirror selection in bay and project. This
allows you to select any media item or
segment by clicking on it either in the project itself or in the list shown in the project bay.
Within the project bay window (see below) you can right click over any listed comp to display its context menu.
Choices include commands to Activate comp, Rename comp and Delete comp (keep takes). You can also
create a new comp from your current take selection by clicking on the Actions button (bottom right) and
choosing Create new comp from the Actions menu.
An example of a
project with the
Project Bay open
and the Take Comps
window selected is
shown here.
You can select and
manage individual
takes and items. For
example, you can
activate or
deactivate individual
takes, or remove
them from the comp
altogether.
Add take marker during Use either the keyboard shortcut Shift Alt left click or run the action Item:
playback or recording * Quick add take marker at play position or edit cursor. The latter will
add the marker without prompting: you will need to edit it later if you wish to
add a name.
Move a take marker Position mouse cursor over the diamond shaped mark then left click and drag.
Edit a take marker Double-click on the diamond shaped mark (e.g. to change its name or color).
Jump to take marker Press Ctrl J to open Jump to dialog. Type the letter k followed by an
apostrophe, then followed by the marker name to jump to a specified take
marker. For example, if you have a take marker called glitch, you would type
k’glitch in the jump to box.
Turn on/off snapping to Enable/disable snap to selection/markers/cursor in the snap dialog. Snap on
markers also requires that snap to media items be enabled.
Can be assigned to * keyboard shortcut in Actions List ** Mouse Modifier (Media item context).
For a complete list of assignable take marker actions, search for take marker in the Actions List.
Example
This example illustrates the use of markers. Before you begin, on the Options menu, enable the option Loop
points linked to time selection.
1. Open the sample file All Through The Night.RPP and immediately save it as All Through The Night
MARKERS.RPP
2. Play the song, pausing playback immediately before where
the vocal starts. Press Shift M. When prompted, type as
the name Verse 1 Start and press Enter
3. At the end of the first verse, press Shift M again, name this
marker Verse 1 End and press Enter.
4. Create similar markers for the start and finish of Verse 2 and
Verse 3. If you are displaying the ruler in minutes and
seconds these will be at or around 0:57, 1:35, 1:43 and
2:31. Save the file.
5. Press 1 on your keyboard (not the numeric keypad). Notice the edit cursor jumps to the start of Verse 1.
6. Press 2. Notice it jumps to the end of Verse 2.
7. Double click on the timeline ruler (not the markers row) between markers 2 and 3. Notice that this area is
now looped and will play repeatedly.
8. Right click over the timeline and choose Zoom selection. You could now do any close editing work
required for this selection.
9. Press Esc to clear the selection, then Ctrl PgDn to restore the whole project to view. Save the file.
Note: Do not use the names =START or =END when naming ordinary markers. These names should be used
only when creating special markers which can be used to denote the start and end of a project. This information
will be used by REAPER when rendering an entire project to audio media (see also Chapter 21).
9.3 Time Selection Start/End Markers
REAPER treats the start and end of any current time selection as
floating markers. The shortcut keys for Go to next marker and Go
to previous marker are ] and [. These will also find the start or end
of the current time selection and move the play cursor there.
You can also right-click over the Go to start button and enable the
option Use transport home/end for markers. The Go to start and Go to end buttons will now find the
previous/next marker or start/end of a time selection when one is current.
9.4 Snapping to Markers
You might wish to ensure that when you are
making a time selection, the boundaries of the
selection will automatically snap to nearby
markers at the start and/or end of the time
selection (if any such markers are present).
Consider the portion of the Snap/Grid
Settings shown on the right. Notice that
snapping has been enabled, with a snap distance of 10 pixels defined.
With snapping disabled, it can be quite difficult
to make a selection which starts or ends exactly
at a marker. When you attempt to make such a
selection, you might end up with the selection
shown in the first of the screen shots below.
Notice that the end of the selection doesn't
quite match the marker.
However, in the second example shown, with
snapping enabled and the settings shown
above, if you drag the selection to within 10 pixels of the marker position, the selection will automatically snap to
the marker when you release the mouse. Notice the effect of making exactly the same selection with the above
snap settings disabled (left) and enabled (right).
Example
In the first screen shot (below), a project contains two markers, at the start and at the end of the project.
Suppose that you wish to reposition Marker 2 at the start of the second verse. You can simply position the edit
cursor there and then press Ctrl 2.
Now let us suppose that you want to create Marker 4 at the end of the song, reserving Marker 3 for a position
as yet unspecified. You can position the edit cursor at the end of the song and press Ctrl 4.
To illustrate this, take a look at the image above. We have started building a project, with an introduction, then a
verse (which has been made into a region), a chorus (also a region) and a second verse. By holding the Ctrl key
while clicking and dragging the icon for the Chorus region to the right, to the end of verse 2, we are able to copy
the entire chorus to that point (see below).
Notice that any markers and time signature markers that are inside the region will also be copied or moved when
the region is copied or moved.
Note: You can select a series of media items and create separate regions for each item in the selection. Make
your selection, then run the action Markers: Insert separate regions for each selected item. This action
can be assigned to a keyboard shortcut, and/or added to a toolbar, and/or added to a menu – see Chapter 15.
1. In the screen shot shown below, our project includes a number of markers:
4. If we now select any of these media items then right click and choose Item processing then Import
media cues from items as project markers then a set of REAPER markers and regions is
automatically created for the project.
One advantage that sampling has always had over MIDI is sound quality. There are any number of human
performance techniques and subtle variations that it are very difficult if not impossible to simulate with MIDI.
However, until recently MIDI held one big advantage over sampling. A MIDI track can easily be transposed
without altering its tempo, and its tempo can be changed without affecting its pitch. This has not always been
the case with audio.
Take the example of drum loops. One of the biggest problems with using samplers to trigger drum loops has
been that when the tempo changes, so does the pitch. Samplers change pitch by slowing things down or
speeding things up. This means that as you play keys up and down your keyboard, you must at the same time
handle the issue of beat changes. It becomes almost impossible to get the exact tempo you want without having
to open the sampler and make adjustments to the loops.
Today, however, there are available many tools
that can do all this for you. The time and pitch
altering tools that come with REAPER use high
quality algorithms which give you all the options
you need to change or maintain such factors as
length and intonation. It thus becomes possible
to modify samples accurately and without
distorting their essential characteristics.
ReCycle is one program that has become
popular because its REX grooves automatically
arrange themselves to the project tempo on
import. Bring in a groove and it always fits the
song. Take a set of items representing slices in
a rhythmic groove, set their timebase to beats,
and change the tempo -- magic! They move all
over the place but remain exactly in rhythmic
time according to the tempo. Using REX files
you are able to play back loops at different
tempos without altering the pitch. You're on
your way to being able to create drum loops
and other sounds exactly the way you want
them, and with relatively little effort.
Later in this chapter we'll have more to say
about ReCycle, and indeed about REAPER's own
dynamic splitting capabilities which puts this
magic at your disposal. After dynamic splitting,
just double click in the BPM area of the
transport bar, enter a number and, hey presto!
The whole track plays faster, or slower, in perfect pitch. What's more, the whole track will speed up or slow
down naturally, without glitches, pauses or stuttering.
Signature as often as needed during the song. For example, you can increase the tempo for one passage then
restore it to its original setting at the end of that passage. Shortly we will see an example of how this is done.
9.14.2 Audio Media Item Properties
You can record your own media items or import them from existing files. You can also change various properties
such as playback rate and pitch for individual media items.
You can specify parameter settings for individual
media items and/or for selection of items. For
example, if you wish to change the pitch or
playback rate for several items you can select
those items and press F2 (or right click anywhere
in the selection and choose the Item
properties… command).
In the example shown, we are increasing the
playback rate for the selected items by 5% and
preserving the original pitch.
Notice that you can override the project default
pitch shift mode if you wish. You may find that
different algorithms work better with different
kinds of audio item (such as vocal, snare, kick or
bass guitar).
Set your Stretch marker fade size select your
preferred mode – Balanced, Tonal optimized,
Transient optimized or No pre-echo reduction.
More information about time stretching can be found in the section Time and Pitch Manipulation.
9.14.3 Creating a Loop from a Time Selection
Remember that you are able to select any part of an existing media item and use it to create a loop. This subject
is covered earlier in this chapter.
Chapter 15 will introduce you to REAPER's actions and the action list editor. This can be used to assign keyboard
shortcuts to many actions that can be useful when you are working with loops and time selections. There are
actions, for example, to extend the time selection in either direction, to reduce it from either direction or nudge it
in either direction. Browsing and searching the action list will help you to identify those which are most useful to
you. Chapter 15 will show you how to bind these actions to your own shortcut keys.
9.14.4 Creating a Loop from Transients
Another method of selecting the area required for your loop is to use the transients in an existing media item.
The following actions are just some of the many that can be found within the Action List Editor (Chapter 15).
Where no existing keyboard shortcut exists, you can assign your own if you wish.
Item navigation: Move cursor to nearest transient in item Ctrl Tab
Item navigation: Move cursor to next transient in item Tab
Item navigation: Move cursor to previous transient in item Shift Tab
Time selection: Extend time selection to next transient in items
Assuming that you are using the default key bindings shown above, and that Ctrl Alt Tab has been assigned to
Extend time selection to next transient in items, you can select the item, navigate exactly from transient
to transient and select the exact area required. You can select the item, copy and paste it elsewhere, then right
click over it, choosing Copy loop of selected areas of items from the context menu.
These are just a few of the actions and commands that can be used to suit your own method of working when
creating your tempo-based projects. Explore the others and get to know them. They include:
Copy selected area of items
Trim items to selected area
Split items at prior zero crossings
Example
Here we have used our shortcuts to create and extend extend the selection
out, as required. We then choose Create measure from time selection (detect
tempo), either from the timeline's context menu or using the keyboard
shortcut Alt Shift C.
audio volume falls below a specified amount. As you will shortly see, each has its separate uses.
REAPER then "shadow splits" your selected item(s). That is to say, it indicates with a row of colored bars
exactly all of the points at which the item will be split if the parameter settings are left as they are.
You make such adjustments as you wish to the parameter settings until satisfied that they are right.
You tell REAPER to split the items.
Once split, each slice of the original item will be set to the current timebase. You can set any of the splits
to any other timebase you choose. You can use the items together or individually, according to your needs.
Suddenly you've got a whole library of samples!
Dynamic splitting is non-destructive. This means that your original audio files (WAV, MP3, AIF or whatever)
remain intact. Nevertheless, if you are going to use this method to build a sample library, it's often a good idea
to work on a copy of the original track. This just makes it easier to go back to the original if you wish to use it to
make a fresh set of samples. Let's now take a look at an example or two.
These settings, along with more information about time signature markers and their behavior (including editing
and moving markers) can be found in Changing the project timebase and Using Time Signature/Tempo
Change Markers.
Note that your Preferences. Appearance settings includes an option whether or not to display gridlines for
time signature changes.
Suppose that you have a groove that you have assembled from various items from different sources. You can
now create chromatic midi from the items and then load those items into a sample player, each mapped to the
next note in sequence. The midi will then play the groove. Moving the midi notes around changes the groove. It
is also quite easy to swap out exactly what it is that is being triggered.
Another example is hit replacement. You can dynamic split a drum part, creating chromatic midi from it. You
then have one velocity-sensitive midi note for each hit. It's then a straightforward job to delete a bad hit and
use the midi note to trigger a drum sample. Alternately, you can use the whole midi track to trigger a drum
sample to double a recorded part (thereby fattening it).
The chromatic MIDI item can, of course, be edited like any other MIDI item with the MIDI Editor, and used to
play any synthesizer or sample player. A comprehensive section on using the MIDI Editor can be found later in
this User Guide, at Chapter 13.
Keyboard shortcuts allow you to easily and quickly change the pitch of any selected item or group of items
without needing to open the Media Item Properties box:
Shift 9: Move pitch down one semitone.
Shift 7: Move pitch down one cent.
Shift 0: Move pitch up one semitone.
Shift 8: Move pitch up one cent.
The Actions list includes an action (Item properties) to set
the item playrate (tempo/bpm) from your source media.
You can also use a take pitch envelope for pitch changes.
Right click on the take (or media item if only one take) and
choose Take, Take pitch envelope from the menu.
To adjust the pitch envelope settings, right-click on the
envelope and choose Envelope defaults, Pitch envelope range/snap from the context menu. This opens a
dialog where you can adjust the envelope range (default is 3 semitones) and/or the snap parameters.
For more adventurous pitch shifting escapades you can try using one of the pitch manipulation plug-ins that are
supplied with REAPER. Simply open the FX window for a track, click on Add, then in the filter list type pitch to
discover what is available. Rubber Band Library.
One example is the JS Pitch: an Octave down plug-in.
Search the Add FX dialog to see what else is available. These
are each suited to particular tasks, but the most powerful of the
available pitch shift plug-ins is ReaPitch.
Position the play cursor at the point where you want to insert a single marker, or make a time selection
starting and ending where you wish to insert two stretch markers.
Select the item or items to which you want the marker(s) to be added
Choose Item from the main menu (or right-click on the item to show the context menu).
Choose Stretch markers then either Add stretch marker at cursor (Shift W) to insert a single
marker or Add stretch markers at time selection to insert a pair of markers at the start and end of a
time selection.
Note that as an alternative to inserting stretch markers, the Stretch markers menu has options to calculate
transient guides: the same menu also has an option to clear these.
Hover the mouse over the stretch marker to display a horizontal (not vertical) double-headed mouse cursor as
shown in the examples below. Stretch markers can then be dragged left or right with the mouse to adjust timing.
Holding Shift Alt while dragging the first of a pair of stretch markers will move both markers together,
preserving the distance and timing between them. Other modifier keys are listed on the table on the next page.
Meanwhile, here are some examples showing how stretch markers can be manipulated.
Where items have been grouped, markers added to one item in the group will also be added to other items
in that group. By default they will be moved together when one is moved. This can be over-ridden by
holding Ctrl when dragging the marker. Grouping items is explained in Chapter 7. The following example
shows how stretch markers can be used with grouped items.
Stretch markers can be any of four modes. These are Balanced mode, Tonal-optimized mode,
Transient optimised mode or No pre-echo reduction mode. Your preferred default mode can be
defined in the Project settings window.
If you are using either time signature markers or tempo markers it is advisable to enable the relevant ruler
layout options (Chapter 9) to ensure these are displayed. If using both, you should consider also
enabling the option to display both types in separate lanes. These options are accessed by choosing Ruler
layout from the ruler’s right-click context menu.
The method for inserting a time signature or tempo change marker is as follows.
1. Position the edit cursor at the required place in the song. From the menu, choose the Insert command,
then Time signature/tempo change marker (or press Shift C).
2. Specify your requirements in the dialog box (shown below right). Available choices include BPM, whether to
Gradually transition tempo to next marker and/or Set time signature , Allow a partial measure
before this marker and (where the metronome is enabled and uses a beat pattern) to define and Set
metronome pattern starting at this point. Click OK.
Alternatively, you can use an action to Insert a tempo marker
at edit cursor without opening tempo edit dialog.
Remember, you can use markers to set time signature without
also specifying a tempo change (or vice versa). Markers can be
modified, for example by editing (double-click on marker to open
the dialog) or moving them (see table below). Note also that:
Tempo/time signature markers are always pinned to beat
position rather than time.
Manually editing time signature markers requires them to
be placed at the start of a measure.
With snap enabled (Chapter 7), time signature changes
snap to bars, tempo changes snap to beats.
With snap disabled (Chapter 7), moving time signature
markers will modify the preceding tempo if necessary to
ensure that the project contains only complete measures.
Time signature changes that truncate the previous
measure are marked with a *.
Time signature correction may be problematic when a project contains linear tempo transitions.
One tempo/time signature marker cannot be moved past another.
Markers will turn red while they are being moved.
Footnotes:
The above Project tempo/time sig marker left drag actions can be customised on your
Preferences, Mouse modifiers settings page.
After time signature or tempo change markers have been added to a project you will no longer be able to
set project tempo from a time selection within that project.
The Preferences, Audio Seeking page includes the toggle option Playback position follows project
timebase when changing tempo – see Chapter 22.
The ripple edit toolbar button right-click menu includes the option Ripple edit all affects tempo map.
Information about file tempo and transients can be embedded in WAV and AIF files when rendering. See
section Embedding Transient Information when Rendering for detailed information.
2. In the illustration above, Melodyne has been inserted directly into a take’s FX chain and then opened in a
separate window. In this example, the media item is a vocal take, but it could be any audio item or track,
such as a guitar, bass, violin or percussion instrument. The audio material is now displayed in Melodyne not
as a waveform but as a series of notes (events). Be aware that the process of initially interpreting your
audio material as a sequence of events such as this can take Melodyne several minutes.
3. You can now make whatever edits you require in Melodyne and these will be applied to your audio item on
playback. As with other plug-ins, the actual item itself will not be modified, although you can stem render it
with the FX to a new track if you wish.
You can close and reopen the Melodyne window as often as you wish without losing your changes. However, it
is always advisable to save the .RPP project file regularly and also when finished.
Tip: Edits made within the Melodyne (or other ARA plug-in) window will be recorded in your undo history, and
thus can be reversed from within the Undo History window. However, if you find that an ARA plug-in such as
Melodyne is straining your PC resources, you should consider enabling the option Compatibility settings,
Save minimal undo states from the presets drop down menu (see overleaf).
For best performance, consider enabling the option (Preferences, Plug-ins) to Only allow one FX chain
window open at a time. You can find more about how to use Melodyne with REAPER here:
http://helpcenter.celemony.com/daw/reaper
Command Description
Master Track Leads to a sub-menu of toggle options for Master Track:
Show in mixer
Show on right side of mixer
Show in separate window
Show in docker
The View, Floating Mixer Master command (from REAPER's
main menu) can also be used to toggle the floating of the
Mixer Master in its own window.
Show folders Determines whether track folders are shown.
Show normal top level tracks Determines whether tracks not in folders are shown.
Show tracks that are in folders Determines whether tracks in folders are shown.
Show tracks that have receives Determines whether tracks with receives are shown.
Scroll view when track activated If there is not sufficient room in Mixer view to display all tracks,
the mixer will scroll to follow the TCP track selection.
Auto-arrange tracks in Mixer Mixer track order will follow any changes to track order made
in the TCP. Disable this if you want to arrange tracks in a
different order in the MCP and TCP.
Group folders to left Places track folders to the left. This can be useful at times in
bringing all your submix folders, but confusing at other times
for separating folders from their child tracks.
Group tracks that have receives to left Places all tracks with receives to the left. Especially useful if the
only tracks with receives are all buses.
Clickable icon for folder tracks to Enables folders to be opened/closed to show/hide child tracks.
show/hide children
Show multiple rows of tracks where Shows tracks displayed in up to three rows when tracks will not
size permits fit in one row and the mixer window has sufficient height.
Show maximum rows even where Causes tracks to be displayed in as many rows as will fit in the
tracks would fit in less rows track height, regardless of how few tracks there are.
Show sends when size permits Displays a Sends bin above the track controls.
Show FX inserts when size permits Displays an FX chain area above the track controls.
Show FX parameters when size Shows FX parameter controls: right-click on any of these to
permits assign control to an FX parameter.
Show track icons in Mixer Track icons (if used) will be shown in tracks in the mixer.
Show icon for last track in folder Displays the last track in folder icon for last track in folder.
Dock Mixer in Docker Docks the mixer in the REAPER docker.
Close Closes the Mixer view.
Tip: Double-click on any track panel in the Mixer to toggle on and off zoom to track in the TCP. This behavior
can be changed on the Mouse Modifiers page of your preferences (see Chapter 15). You can also use the
Mouse Modifiers page to add further actions of your own. For example, you could assign Ctrl Double-click to
the action Track: Set to custom color … How to assign your own actions is also explained in Chapter 15.
Take as an example the above project. It has two folders (or parents) - Vocals and Instruments, containing two
and three child tracks respectively - and one top level track, called Reverb. There are sends from the two folders
to the Reverb track
(which acts as a bus),
and the tracks have
some FX in them.
The four “Show”
commands on the Mixer
menu are used to
determine which types
of track are displayed.
In the example shown
here we are using layout
A to display all tracks
and folders, with indents
and aligned controls,
with the master on the
right.
Now let’s suppose that
we wish to work with
folders and top level tracks only, not displaying child tracks.
Using the context menu we can deselect Show tracks that
are in folders. The result is shown here.
The Mixer menu does not have the facility to specifically hide or
unhide named individual tracks. However, this can be done
using the Track Manager. The Track Manager will be explored in
Chapter 12.
Right-click over the FX inserts area of any track in the Mixer for a context menu (see right). Some commands
(e.g. Copy FX) will not be available if you click over an empty slot. Otherwise…. :
Add FX... Opens FX browser for you to add any installed FX plug-in(s),
Quick Add FX Displays a sub-menu of recently used FX: you can select any item
from this menu to add to the track's FX chain.
Add FX Chain Displays a menu of FX chains, any of which you can select and
insert in this track.
Replace FX... Opens FX browser for you to replace selected FX with any other:
any existing routing configuration will be preserved.
Quick replace FX... Opens sub-menu of recently used FX, from which you can
choose any item to replace the selected FX.
Copy FX Copies FX to clipboard so that it can be pasted to other tracks or items.
Notice the option to include automation envelopes. You can also use Ctrl drag
to copy from one track to another, or Ctrl Shift drag to copy the FX and its
automation envelopes.
Paste FX/ Paste Replace FX Pastes FX in clipboard to the selected track,
optionally replacing existing FX.
Float FX configuration Opens the FX window for the selected plug-in.
Show FX chain (Ctrl click) Opens FX chain for the track: same as clicking on the
track's FX button.
Bypass chain Sets FX chain for this track to bypass. Same as clicking on the
track's FX enable/disable button.
Bypass FX (Shift click) Sets the individual plug-in to bypass mode: the plugin is removed from the FX chain
but still works – for example, it still consumes CPU. However, no audio is passed thru it.
Offline FX (Ctrl shift click)Sets individual plug-in offline: more of a “sledgehammer” approach than bypass.
The plugin is turned off (and may be unloaded). Its previous status is restored when it is put back online.
Delete FX (Alt click)Removes this plug-in from this track's FX chain.
Rename FX instance Allows you to give an individual name to this particular FX instance.
Track FX Parameter Controls
You can add controls directly to mixer track panels for those FX parameters that you find you most useful. You'll
find more useful information about this in Chapter 12, Project Management Features. Meanwhile, it's easy
to get started. Let's see how you would go about creating a console like that shown below.
Notice the rotary faders for Threshold and Ratio that are
now on every track.
Example
You can use one of your existing project files for this
example.
1. Open one of your earlier project files, for example,
All Through the Night MARKERS and save it as
All Through the Night MIXER.
2. Display the Mixer. Undock it, and adjust the width
and height of this window as you prefer.
3. From the Mixer menu enable Show FX inserts
when size permits and Show FX parameters
when size permits.
4. Insert into the first track an instance of ReaComp.
5. Select the Threshold control.
6. Click once on the gain fader control for this band, then click on the
Param button to display the Param menu.
7. Click on Show in track controls.
8. Select the Ratio control by clicking on the gain fader for this band.
9. Click on the Param button to display the Param menu. Click on Show in
track controls (see above). Close the EQ window.
10. In the mixer, you should see these two controls displayed for track 1.
Drag and drop the ReaEQ from track 1 in turn to each of the other
tracks. Save the file.
Note that in the above table, those actions which use the routing button can be carried out in both the Track
Panel and the Mixer Panel.
Right clicking over a track’s volume or pan fader causes the Volume Control or Pan Law window to be
displayed.
Similarly, the Record Arm, Record Monitoring and Select Record Mode buttons serve the same purposes
as they do in Track View.
Tracks can also be muted or soloed in the Mixer view. Both buttons use the same mouse modifiers and
have the same context menus as they do in the TCP.
Right clicking over the background area or track name or track number for any track in the mixer
displays the track context menu. This includes the Track Layout, Mixer panel command which can be
used to apply any of the theme adjuster layouts A, B or C to any track selection in a range of
magnifications varying from 50% to 200%.
Example
In this example we will first create a stereo file in order to help us
experiment with the use of the width panner. We will then get a little more
ambitious and use it on a submix. This will include rendering the mono
media items on two current tracks a single stereo file. The topic of rendering
will be covered in detail in Chapter 21.
1. Open the file All Through the Night.RPP and save it as All Through the Night WIDTH.RPP.
2. Mute all tracks except the Guitar Body and the Bouzouki.
3. Pan the Guitar Body 100% left and the Bouzouki 100% right.
4. Choose the Render command from the File menu. Rendering will be covered in detail in Chapter 21. For
this example, pay attention to the following settings:
8. In this rendered track, the guitar makes up the audio on one channel, the bouzouki on the other channel.
9. Solo and play this track.
10. Adjust the pan control slowly, first fully left, then fully right, then back to the center. As you do so, one
channel will gradually fade away. Panned full left you will hear only the guitar, full right only the bouzouki.
Move the pan back to the center.
11. Selected this track in the TCP, right click over the pan control and choose Dual Pan option from the pan
mode drop down list (explained overleaf).
12. Play the song. Slowly move the top pan control to 100% right. You will hear both instruments in the right
speaker only.
13. Move the lower pan control to 100%% left. Now you will hear the guitar in the right channel only, the
bouzouki in the left channel only – the opposite of what you started with.
14. Experiment moving these faders. When finished, move the top pan control to 100% left and the lower pan
control to 100% right. Save the file.
15. Now change the pan mode for this track to Stereo Pan.
16. Play the song. At first you will hear only the guitar in the left speaker, only the bouzouki in the right
speaker. Slowly move the lower (width) panner from 100% right towards the centre (0W). As you do so,
the two instruments will tend to blend more together.
17. With width set at 0%, move the top (pan) control fully left. The mix will now be heard thru one speaker
only. Move it back to the center. Save the file.
Now try this:
1. Unsolo and mute the stereo track.
2. Create a folder called Instruments just after the Vocal track. Select Stereo pan mode for this folder.
3. Make the two guitar tracks and the bouzouki tracks child tracks of this folder. Adjust the volumes and pan
settings of the individual tracks and the folder to get a nice mix. Pan the different tracks well apart.
4. Use the width control on the folder. Experiment with using this to bring the instruments closer together or
further apart. Use the pan control to position the overall mix further left or right. You can still adjust pan
settings for individual child tracks within the folder as well if you wish.
Tip: This technique can do wonders when you are mixing vocals, including
vocal duets and vocal harmonies!
Pan Modes
By default, the stereo width is applied before the pan/balance control. To
select a different pan mode, right-click over either the pan or width control
fader and choose from the drop down list. The three modes are:
Stereo Balance/Mono Pan: The track is treated as mono, even if it
contains stereo media. Set to center, you hear the same signal equally thru
both speakers. Set hard right, you hear it in the right speaker only.
Stereo Pan Lets you control side (pan) and width separately. Side means
that the stereo image is set more to the left or right, and width means how
far apart the left and right channel are in the stereo image. With side set to center and width set to 100%, you
hear the left channel in the left speaker and the right channel in the right speaker. With side set to center and
width set to 0%, you hear both channels equally in the left and right speakers. With side set hard right, you hear
both channels equally in the right speaker, regardless of the width setting.
Dual Pan: Lets you control both channels separately. The left and right knobs set their respective channels
more left or right. With left set hard left and right set hard right, you hear the left channel in the left speaker and
the right channel in the right speaker. With left and right both set to center, you hear both channels equally in
the left and right speakers. With left and right both set hard right, you hear both channels equally in the right
speaker.
It is recommended that you do not use the deprecated Reaper 3 pan mode. This has only been left as an option
to ensure that older Reaper 3 projects which may have used this mode do not become broken.
\Where a track has more than two channels you have the option of showing the output
of all channels on the track's VU meters in the TCP and Mixer.
This feature is toggled on and off for any track or track selection by right-clicking over
the track or mixer panel area (for example, on the track number) and enabling or
disabling Multichannel track metering on the context menu.
In the example shown here, this option has been disabled for the first of the tracks
shown and enabled for the second.
Source Media. Lists media items available for use, or are already used in, the project. Each item will
occur only once in this list. If used more than once, this is indicated in the Usage column.
Media Items. Lists only the items that are actually used in the project (i.e., active). An item will
appear in this list as many times as it is used in the project.
FX and FX Parameters. Lists FX plug-ins used and FX parameters available in the project. The FX
Parameters page is a “one stop shop” for managing any FX on any take or track within the project,
for example to add envelopes or track controls, or assign control to an external device. These
features are explained in the sections Managing FX Parameters and Using FX parameter MIDI Learn.
You can drag media files (e.g., from REAPER's Media Explorer or from Windows Explorer) or FX (e.g., from the
FX browser) into the Project Bay. Media items inserted in this way are added to the Source Media page. If the
item is then used in the project, it will be added to the Media Items page. FX items are added to the FX bay.
You can rename items within the Project Bay, select all instances of a media file or FX within the project, and
replace media/FX in the project with any other media/FX from the Project Bay. You can also mute/solo media
items and bypass/bypass FX.
Both Media pages and the FX page include a Retain column. When you drag media items or FX into the project
bay, they are marked with a + in the retain column. This setting means that the entry will remain in the project
bay even if there are no instances of that media item or FX in the project.
When you add media (by recording or inserting) to the project, they will appear as entries in the media items
and source media bays, with the retain status unset. These entries will be automatically removed from the
project bay if they are removed from the project itself. If you want the entries to remain in the project bay even
after being removed from the project, you should enable
retain for those entries in the source media bay.
FX entries in the project bay include a Preset column. If
you change the value in this column (from the right-click
menu), all instances of that FX in the project with the
previous preset selected will be changed to the new preset.
In addition, you can retain an FX entry with a specific
preset, or multiple entries for the same FX with different
presets, in the project bay.
The Project Bay includes the buttons Actions and
Options. Clicking on either of these displays a menu. As
an example, the Options menu is shown on the right.
Most of these commands require little explanation.
Mirror selection in bay and project. When enabled, this
causes an item selected in the project to also be selected in
the bay, and vice versa. You can also ensure that REAPER
will zoom to a selected item when this option is enabled.
Use last selected item as source for “draw a copy”
mouse action. This enables you to use pencil mode to
create copies of the last selected item.
Space bar previews media allows use of the space bar to play the currently selected media or source media
item. Loop media preview will allow any loop marked in the project to be applied. Preview (source or media
items) through selected track allows you to play back the item with, for example, any FX in a particular
track's FX chain, or any track envelopes, being applied. The Filter can be set to use name, path or comment.
Make sure the option Clear bay when changing projects is enabled if you wish to make each Project Bay
project specific. Disable it if you want to carry over items in the current bay to the next project that you open or
create. You also have the option to Automatically retain media items when they are removed from
project. This ensures that retain status is automatically assigned when an item is removed from the project.
The Dock project bay and Close window commands are self-explanatory.
The commands on the Actions are shown right. They can be used with and applied to the items (media or FX)
on whichever bay page is currently selected.
New project bay window opens a new project bay window. You can use up to eight project bays in a single
project. You can then use this (for example) to load a different saved project bay, whilst keeping the original bay
open in the original window. This could be the case, for example, if you wish to sort/group media items into
folders in more than one way.
Create new folder. Individual project bay entries can be dragged and
dropped in or out of the folder (see example below, where two folders
have been created, Instruments and Vox). Folders can be used for
source media items (as shown below), media items (in project) or FX.
Double click left of the folder name to collapse or expand the folder.
Force refresh forces a refresh of the project bay display.
Select all items causes all items in the current tab to be selected.
Retain all items causes all items in the current tab to be marked to be
retained in the bay even when they are deleted from the project.
Remove all items from project will remove all items from the
project, and Remove all items that are not used in project will
remove from the media bay all items that are not used in the project.
The Media Explorer button (lower left) can be used to open the Media Explorer, from where media items
can be dragged and dropped into the project bay (as source media) or into the project itself. Complete
(untrimmed) items can also be dragged and dropped directly from Windows Explorer.
The rotary Volume control can be used to control the volume of any item being previewed when the
option to preview thru selected track has been disabled.
The Bay button (bottom left) serves three basic functions. You can use it to create a new project bay, to
replace the contents of the current bay with a previously saved one, or to merge the contents of a
previously saved project bay into the current one.
The Source Media Bay and the Media Items Bay
The techniques for working with media items in both of these bays are very similar. The main differences are:
Items dragged into the Bay are placed in the Source Media Bay only, until such time as they are actually
added to the project. They are then automatically also listed in the Media Items bay.
Only items which are active (and therefore included in the project) are shown in the Media Items Bay.
Active items can be managed from either of these bays. Available items can only be managed from the
Source Media bay.
To mute an item in project Right-click on item, choose Mute from the context menu (to toggle).
To rename any media item Select item in the Bay: click Rename button or use the context menu.
To add comment to an item Double click in the comments column of the item row.
To filter the media item list Type a text string in the Filter box (e.g. cox to see only media items
See also section Using Search with cox in their name) then click on the Refresh button.
Filters for advanced options. To clear a filter, click on Clear Filter button.
To replace a Source Media Select item name in Source Media or Media Items list. Right-click and
or Media Items item with choose Replace in project. Then select from flyout menu, e.g. All
another item instances or any single instance: choose the replacement item.
The media format (e.g. MP3, WAV) need not be the same for both items.
To save an item set list from Select the items, then click on the Save button and choose one of the
the Bay (for possible use in available options. You can Save selected items to a new project
other projects) bay, or Save all items as a new project bay. For either of these, you
will be prompted for a new .Rea Bay file name. You also have the option
to Save and merge selected items to an existing project bay file, in
which case you will need to select the required file from the list.
To load a previously saved Click on the Bay button, choose a .Rea Bay file from the list. You may
item set list. Load and merge it with the current one, or replace the current one.
To sort media items list. Click on any column header to sort. Click again to reverse sort order.
Note: Some FX names may occur more than once in the list. In the example above, ReaComp appears twice.
This is because one of these instances have been assigned a preset. This enables you to manage these
separately. The preset stock – Modern vocal has been applied on one ReaComp on the Vox track.
Next to the FX tab in the Project Bay window there is a FX Parameters tab. This is used for managing various
FX parameter features such as envelopes, learn mode and parameter modulation. This will be explained in
Chapter 19, which deals with parameter modulation.
In the example shown above this table, the Vocal and Acoustic Guitar tracks and folders are the only ones
shown in the TCP. All tracks are shown in the Mixer. The Vocals folder settings have been locked. Both the Vox
Lead and Vox Army tracks are soloed. They are also FIPM enabled. The Reverb track uses plug-in delay
compensation of 512 ms. Tracks 2, 3, 5, 6, and 11 have all been frozen, track 11 twice.
Tip: You can use the Screensets window to save different sets of Track Manager settings as Track Views, any
of which can be recalled in an instant. Screen sets are explained later in this chapter.
12.8 Track View Screen Sets
Screen Sets enable you to save several different views of your project, so that you can easily select and recall
them when editing or arranging. There are two types of Screen Set – Track Views and Windows.
Track Views are created and saved on a per project basis – the screen set data is stored in the project's .RPP
file and can be recalled only when you are working with that project file. Using track view screen sets can be
especially useful when you are editing or in some other way working closely with media items.
Windows screen sets are global and are stored in the Application Data screensets.ini file. They can be recalled
from, and applied to, any project file.
The procedure for creating track views is:
Use the View, Screensets/Layouts
command to show the Screen Sets
window (the default keyboard shortcut
is Ctrl E). The Screen Sets window may
be docked (or undocked), and (if
undocked) pinned to stay on top.
Adjust your track layouts to suit.
Select a number from the Track views
page of the Screen Sets window.
Click on Save and name the set.
You can create up to 10 track view screen
sets per project file. To recall a view, double
click on its name.
You can also assign keyboard shortcuts to
individual screen sets. By default, Shift F4 to
Shift F6 are used to save your first three
track views, and F4 to F6 are assigned to
load each of these first three track views.
If you want to modify these, or assign shortcuts to other track views, then you should click on the Edit
shortcuts button in the Screensets window. This opens the Action List Editor. For instructions on how to use
the Action List Editor, see Chapter 15.
Notice that there is also an option available
to Auto save when switching screen sets.
If enabled, this ensures when switching from
one screen set to another that any changes
made to the layout of the first of these
screen sets will be saved. The Edit fields...
button can be used to “tweak” this, so that
only certain aspects of your changes are
automatically saved.
Example
1. Open the file All Through The
Night.RPP and save it as All
Through The Night TRACK
VIEWGRAPH.
2. Adjust the track height of your Vox track as shown here (above).
Choice of CC mode (absolute or relative) will depend on the parameter being assigned and your own control
device. In many cases, absolute mode with soft takeover
will be appropriate, but you may need to experiment.
Soft takeover: if enabled, the learned parameter will not
be changed by moving a MIDI knob or fader until the MIDI
knob/fader equals the value on the screen.
For example, if the current value of a parameter is (say)
100 and the controlling hardware slider is (say) 30, then
with soft takeover enabled moving the fader will not cause
any change to the parameter value until the value of the
fader itself nears 100. If the fader is then moved to (say)
120, then the parameter value will also be moved to 120.
The options to Enable only when effect configuration
is focused/visible are especially powerful – it means that
this control surface assignment will only be used when that
plug-in has focus and/or is visible. This enables you to
assign the same control surface fader to any number of
different functions with different plug-ins. For example, the
same fader used to control EQ gain in one plug-in could also be used to control the threshold setting on a
compressor.
When one or more parameters in a plug-in has been assigned to a control surface, you will see an extra
command on the Param menu – Default controller mappings.
This leads to a flyout menu with three options – Use default, Save as default, and Clear default. You can
thus use this menu to save these settings as the default for this plug-in, so that these controls will be
automatically made available whenever that plug-in is loaded into other tracks.
Manager or the Undo History. The floating window is a third docker, and this contains tabs for displaying the FX
chains for four of the tracks in the current project. This is, of course, only an example.
These instructions assume that you are already familiar with the basic techniques for docking and undocking
windows, and so on, as explained in Chapter 2. You can attach any docker to the main window in any of the four
positions. You can also choose the same position for more than one docker (for example, you might wish to
attach two dockers to the right).
8. When finished, press Ctrl S to save the subproject. The media items will be rendered to a single file which
will appear as a single media item on its own track in the main project.
9. Display the main project (select its project tab). You may need to extend the length of the media item on
the sub project track to display its contents. You may now close the subproject file if you wish. It can be
re-opened by double-clicking on the media item in the main project file. With large projects (e.g. with
many sample based instruments) that are slow to load it can be simpler just to keep them open, although
doing so will use more RAM.
10. When you play the main project file, its output will now include the rendered contents of your subproject.
Example
Let's now look at an example of how this might be done in practice. To make it easier to understand, this
example will be kept to a simple project. After reading thru this, you might be able to then think of a further
example that you can try out for yourself using your own projects.
1. Here we have created a new project
file, and saved it into its own
subdirectory, calling it
WaitingMain.RPP, We have
recorded a guide track and added a
second track, called Drums.
2. After selecting the Drums track we used the command Insert, New subproject to insert a subproject
which we named and saved
as DrumsSub.RPP. Notice
both the short media item
that is automatically added
to the track and the new
project tab above the
toolbar.
3. Using DrumsSub.RPP we
build our drum tracks in the
normal way. For the sake of
simplicity, in this example we
have just added two tracks,
but of course we could have as many as we require. Whenever we play these back, the guide track in the
master project will also be heard. Track volume and pan settings are adjusted as required, FX and
envelopes are added, and so on. When finished, we move the =END marker to the end of the tracks.
5. We now save
this file. Notice
that audio
output is
rendered as the
file is saved. We
return to the
main project. At
first sight,
nothing seems
to have
changed:
6. However, when
we extend the
media item to
the right, we
can see the
rendered
drums:
7. If we close the DrumsSub project and play the main project file, the rendered drums can clearly be heard
along with the guide track.
8. Any later changes that we make to the DrumsSub project will be included in the audio file that is rendered
when the
subproject is
saved. Thus,
when the main
project is next
opened, the
audio item on
the Drums track
will include these
updates.
9. We can now add further subprojects, in this example one each for the vocals and the rhythm section. The
guide track is no
longer required: it
can be muted and
hidden. We can
also make further
edits, add FX, etc.
to the rendered
subproject tracks:
This example has been
kept simple for learning
purposes. In practise,
subprojects are most
useful when working
with complex and
intense applications such as movie scores, radio programs, large orchestral arrangements, game/video sound
design and electronic music production. Another potential application is in finalising an album, with each song
being inserted as a separate subproject within a master project.
Working with subprojects … some handy tips and hints
It's easy to stumble and make (sometimes elementary) mistakes when trying out something new. These
comments are not comprehensive but they are here to help you.
Creating a subproject file
It's not the end of the world if you forget to position the edit cursor in the master project accurately before
creating a subproject. You can move the media item within the master project file later.
You can specify the position and length of a subproject by defining a time selection before you create it.
It usually pays to ensure that the master project is set up within a new folder, and the subprojects are all
stored in that same folder.
Don't use the name of an existing file in the same folder as a subproject file name. If you do, you will
overwrite that file with a new empty one.
Individual media items from an
existing project file can be
imported into a subproject file in
the usual way (e.g. using
REAPER's Insert, Media item
command, or via the media
explorer).
An existing .RPP project file can
be imported into a master project
as a new subproject media item
(see right).
Either drag and drop the .RPP file from media explorer into an empty track in the master file, and when
prompted choose Insert project as media item, or select the empty track and use the Insert, Media
file... command.
An existing media item (or item selection) in a master project file can be moved from the master file to a
new subproject file. Right-click on the item(s) and choose Move items to new subproject. Items within
the selection on the same track will be moved to a single subproject file. Items on different tracks will be
each be moved into a separate subproject file. The subproject file is fully editable: its contents will appear
in the master project as a single item, which will be updated each time the subproject is saved.
An entire track or selection of existing tracks in a master project file can be converted into a subproject by
following these steps:
1. In the TCP, select the track or a number of tracks. If these are enclose in a folder, include the folder in
your selection.
2. From the main menu, choose Track, Move tracks to new subproject.
The tracks (including any folders) will be moved and saved to a new subproject file: their output will
appear in the master file as a rendered single item on a single track. Note, however, that any
sends/receives between the selected tracks and any other tracks in the master file will be removed.
proxy (subproject) to preview REAPER.RPP projects. If enabled, this ensures that when you select an
.RPP subproject view for preview, if it needs rendering it will automatically be rendered.
Within the main project file, you can create a new take of any subproject item. Just right-click on the
media item and from the context menu choose Open items in editor, then Open item copies in
subproject tab. You will now have two subproject files for this track. These two files can be edited
independently of each
other and will be
displayed in the master
project as two separate
takes. They can be
manipulated and edited in exactly the same way as any other takes.
Your subproject files, like other project files, can include markers and regions, as you wish. On saving, any
regions will be identifiable within that subproject's rendered media item in the main project file.
Summary of master and subproject project tab options
Parent projects:
If you enable the option Run background projects then you can fine tune how the background projects
should behave by enabling or disabling any or all of the options Run stopped background projects, Play
stopped background projects with active project and Synchronize play start times w/play
background projects.
Subprojects:
If you enable the option Run background projects
then you can fine tune how the background projects
should behave by enabling or disabling any or all of the
options Synchronize any parent projects on
playback, Run stopped background projects, Play
stopped background projects with active project
and Synchronize play start times w/play
background projects.
On both parent and subproject project tabs various
subproject rendering toggle options are available.
These are Do not automatically render subprojects
(require manual render), Prompt before automatic rerender of background subprojects, Defer
rendering of subprojects (render on tab switch rather than save) and Leave subproject open in tab
after automatic open and render.
12.23 Working with Multiple Instances of REAPER
If you wish, you can have more than one instance of REAPER open at the same time. This can be useful, for
example, if you have multiple monitors and need to work on two or more projects at the same time, with each
project kept always in view. With project tabs this is not possible, but there are two other ways of doing this:
Spawn new instance of REAPER.
Open the Action List and run the action File: Spawn new instance of REAPER. This is the simpler option
and will open a separate instance of REAPER in a new window and with its own preference options, but sharing
the same configuration file. You can, for example, copy and/or move media items between the two (or, indeed
more) instances. Each instance of REAPER is independent of the other. However, this method might not be
preferred if your monitors are running at different resolutions.
Make a separate portable install of REAPER.
A portable installation of REAPER (in a different directory from your main REAPER installation) will have its own
configuration file and settings. It can be run independently of, and alongside, your main REAPER version and
allow you to do everything that you can do with a spawned new instance.
Activity Procedures
Monitor using MIDI Insert a track and name it. Arm it for recording and turn record monitoring on
Input Set record mode to Disable (input monitoring only)
Select Input: MIDI, then the device, then the channel(s)
Open the track's routing (I/O) window, select your MIDI Hardware Output.
Monitor using Audio Insert a track and name it. Arm it for recording turn record monitoring on
Input Set record mode to Disable (input monitoring only)
Select the necessary mono or stereo audio input from the synth's audio interface.
Filter Button
This is the fifth button shown on the toolbar above. It opens the Filter Events window to allow you to
decide what you want displayed in the MIDI Editor. The Show only events that pass filter box toggles
your filter settings on and off. Invert causes all notes to be
displayed except those defined by the filter settings. You can
choose to display all Channels, or any combination or
permutation of channels.
Enabling Solo will cause only events that pass through the
filter to be played.
Use the Event Type drop down to select any type of event as a
filter. The default is All events, but you can choose Note, Poly
Aftertouch, Control Change (CC), Program Change (PC), Channel
Aftertouch, Pitch, or Sysex/Meta.
The content of the Parameter drop down lists depend on the
event type selected. For example, for Note (as shown below), it
will display a list of notes, with options to filter on note (optionally
using the keys in piano roll) or note range, velocity, position in
measure and/or length. However, choosing Program Change (PC)
as event type will allow filtering only on program number and/or
position in measure. Pitch can be filtered on low/high values or
position in measure.
Position in measure behavior will vary with the event type. For
example, if the event type is Note, position in measure allows you
to restrict display to a range you define anywhere between 0 and
127. For PC, CC or Pitch, low and high position in measure values are set to any range within 1/32 and 1.
Set selection causes current filter settings to be applied, and Add to selection lets you add to the existing
filter selection. For example, you can create a filter on Note then add to it one based on Pitch. You can also
specify settings to Remove from (current) Selection. Set filter from selection will automatically create a
new filter based on the current MIDI Editor note selection.
The Filter Button includes a right-click context menu which can be used to toggle on/.off the options Show
only events that pass filter, Invert filter and/or Solo.
Track List
This button opens (on) and closes (off) the Track List panel. This is explained in this chapter, in the section
Working with Multiple Tracks and/or Items. For the time being, leave this set to off.
To the right of the track list button are six toggle icons, Quantize (on/off), CC selection follows note
selection, Show grid, Snap to grid, Step Sequencing (use MIDI inputs for step recording, on/off) and
Dock editor. Right-click over the Snap to Grid button to set behavior for when snap is enabled – Always snap
notes to the left, Snap notes to end of grid (the default), or Snap relative to grid. The final icon Dock
editor can be used to dock and undock the MIDI Editor window.
Note: If both Media, MIDI preferences to Create new items as .MID files and Import existing MIDI files
as .MID file reference are enabled, the MIDI Editor toolbar will on the left display two further buttons - File,
Save MIDI file and File, Revert to saved MIDI file.
Tip: The View, Piano Roll Timebase command includes the options source beats, project beats and project
time. MIDI data is always defined in beat-based terms, but in the time view mode the grid is adjusted to reflect
any tempo changes in the project. If there are no tempo changes, the beat and time views will be identical. You
also have the option to select Project synced. This synchronizes the timeline of the project and MIDI item
together. It also ensures that both windows are synchronized during such actions as zooming and scrolling.
The Ruler
The MIDI Editor follows your Arrange view settings. For example, if the option Loop points linked to time
selection is enabled, click and drag along the MIDI Editor ruler will define both loop and time selection.
The Transport Bar
This is found at the bottom of the MIDI Editor window. It contains the transport buttons and a number of drop
down lists. The six buttons (not shown) are self explanatory – left to right they are rewind, start, pause playback,
stop playback, jump to end, and toggle repeat loop mode on/off. The loop area can be set on the timeline in
either the MIDI Editor or the Arrange window. The drop down lists (shown above) from L to R are:
Grid: The grid division box is used to set the grid division unit, in notes. Select a values between 1/128 and 4.
Grid spacing type: Options here are straight, triplet, dotted or swing. If you choose swing, several other
parameters will also be displayed on this bar. These are discussed later in the context of quantizing.
Notes: This is used to select the default note length (expressed as a fraction of a note) that is used when new
notes are added. In the example above, this has been set to be the same as the grid setting. It can be
overwritten using the main menu command Options, Drawing or selecting a note sets note length.
Scale and Chord: Enabling the key snap option allows you to select a scale and a chord from the two drop
down lists. You can also use the chords button (here labelled “Major”) to load a REAPER .reascale file.
Track List: Where more than one track contains MIDI item, this selects which track is to be made active in the
MIDI editor. This can also be used to show or hide the track list panel.
Channel: Use this to select a channel from 1 to 16 for current editing (or All). The Filter box modifies selected
channel behavior: when off, all channels are displayed, but the selected channel is still used for note entry.
The Main Window
The main window by default consists of two panels. The larger (top) panel displays your MIDI notes. Here you
do your editing. The default view is Piano Roll View. Click on any piano key to play that note. The smaller
(bottom) panel is the CC lane, used to display various information, such as note velocity or pitch.
Move your mouse over the main window area (where the notes are displayed) and you can see your mouse
cursor displayed as a pencil. This indicates the current edit position, for example for inserting notes. Both the
position on the timeline and that on the piano roll are shown in the top left corner, just beneath the toolbar.
Parameter Description
Bank Select MSB Many MIDI devices offer a total of more than 128 instruments, in which case
Bank Select LSB these instruments are grouped into banks. Thus, depending on the device, a full
program change message might consist of five parts – cc #0 (Bank Select),
followed by the Sound Bank MSB value, then cc #32 (Bank Select LSB) followed
by the Sound Bank LSB value, then finally the Program Change number.
Program change numbers are discussed in more detail in the sub sections that
follow after this one.
Velocity The measure of the speed with which a key on a keyboard is pressed.
A lane is also available for Note Off Velocity.
Mod Wheel This can add vibrato or other changes to a sound.
Breath Varies from 0 (no force) up to 127 (high force).
Portamento Determines the smoothness of the glide from note to note
Balance Typically used to adjust the volume of stereo parts without affecting the panning.
Expression Used to create relative volume changes.
Sound Timbre The property of a sound that gives it its unique “color”.
Sound Release Determines how long it takes for a sound to fade out.
Sound Attack Controls how long it takes for a sound to fade in.
Sound Brightness This adjusts a sound’s filter cutoff, allowing you to create filter “sweeps”.
Lyrics
Used to import or export track lyrics in .txt format. Mostly useful with Notation Editor.
Note/CC names
Displays a sub-menu. Rename current note.... Use this in Piano Roll or Named Notes mode to name the
currently selected note. After entering a name you can use Tab to move to the next note in the piano roll,
Shift Tab to go to the previous note.
Choose Load note/CC names from file... to browse for your required file. Recently used files will also be
displayed on the menu. When loading from the recent file list, hold Shift with this command to merge
imported names with existing note names rather than replace them. See also Custom MIDI note and CC
names.
Another option is to Save note/CC names to file...
There is an option to Clear note/CC names and a toggle option Note name actions apply to active
channel only.
Note colors
Displays a sub-menu. Load color map from file .../Clear color map (use defaults). Used to import
your own .PNG color map file or restore the REAPER defaults. For more information about how to create a
color map file, go to forum.cockos.com/showthread.php?t=78839
Close Editor
Closes the REAPER MIDI editor, and returns you to the main REAPER window.
The Edit Menu
Undo, Redo, Copy, Cut, Paste, Select all, Delete
These features work as expected on all selected MIDI notes. Note that you can cut, copy and paste
between MIDI Editor windows, and into some external applications.
Also, the Actions list includes several Select actions, e.g. various actions for selecting CC events in time
selection, actions to select CC events under selected notes, actions to select muted notes, actions for
selecting all notes in measure, and actions for selecting all notes at pitch cursor.
Paste, Paste preserving position in measure
Paste will paste to the current cursor position. Where a selection of notes (rather than a single note) has
been cut or copied, the entire selection will be pasted starting at the current cursor position.
Paste preserving position in measure pastes to the next measure after the cursor position, retaining the
relative position of the item pasted.
Mute
Mutes current note selection.
Insert note
Inserts new notes at the Edit Cursor.
Split notes
Splits selected notes (using the S key). If no notes are currently selected, all notes currently under the Edit
Cursor are split.
Join notes
Joins selected notes together.
Set note ends to start of next note (legato)
Sets ends of selected notes to start of next notes by adjusting end points of all notes in selected range.
Quantize ...
Opens Quantize Events dialog box. See also the
Quantize section and the MIDI Toolbox section.
Quantize submenu:
Quantize using last settings
Quantize position to grid
Unquantize
` Freeze quantization
See the Quantize section for more information.
Humanize …
Opens the dialog box shown here. Humanizing can
make the exact timing of MIDI generated music
sound less “clinical” and more realistic. It does this
by allowing you to introduce random small and
subtle imprecisions in timing and velocity. This
command is also available as an assignable action.
Transpose ...
Opens the dialog box shown below, which can be
used to transpose all or a selection of MIDI notes.
You can transpose by a specified number of
semitones, with a snap to scale option, or from one specified
key/scale to another.
Note preview
Displays a sub-menu enabling you to select any or all of four situations when you would like notes to be
previewed (i.e. audibly heard) – Preview notes when inserting or editing, On velocity change, On
keyboard action, and/or All selected notes that overlap with selected note.
CC events in multiple media items
Options are available to Draw and edit on all tracks or Edit on all tracks.
CC/velocity lane: Several options are available:
CC selection follows note selection
Bank program selection follows note selection
Default CC curve shape and Reduce CC events while drawing
Allow CC shape in bank and LSB lanes
Show note length in velocity lane and
Edit CC/velocity only when mouse is near event.
Drawing or selecting a note sets the new note length
Over-rides the default note length set by the drop down Notes box on transport bar.
Allow MIDI note edit to extend the media item
If enabled, this toggle will ensure that the media item length will be extended when a note is moved or
copied within a time selection.
Display 14-bit MSB/LSB CC data as a single entry ...
If enabled, ensures that 14-bit MSB/LSB CC data will be shown as a single entry (rather than separate
entries) in event list view and properties,
Automatically correct overlapping notes
Toggles on and off the automatic correction of overlapping notes.
Use F1-F12 for step recording (see also section “Step Recording”)
When enabled, the function keys (F1 - F12) can be used to enter notes. These keys are mapped to the 12
Semitones of an Octave, with F1 having the lowest pitch and F12 having the highest pitch. The starting
pitch for F1 is set by the location of the highlight bar.
To bypass any snap settings when using step recording, hold Shift while pressing the function key.
Use all MIDI inputs for step recording
Toggles the use of MIDI inputs when step recording.
MIDI editor mouse modifiers
Opens the mouse modifiers page of your preferences window. Here you can select actions to be assigned
to mouse behavior in various contexts. This is discussed later in this chapter and in Chapter 15.
Customize menus/toolbars ...
Opens the Customize Menus/Toolbars window. See Chapter 15.
The View Menu
Filter events..., Quantize..., Humanize..., Transpose …
Opens one of these dialog boxes, which are individually discussed elsewhere in this chapter.
Event properties ...
Opens the Note properties dialog box. This topic is covered later in this chapter. Note properties now share
this common dialog box with other events including control change, pitch, and channel pressures.
Raw MIDI data
Opens a window displaying raw MIDI data for currently selected item.
Mode: piano roll
Displays a standard, white/black piano key view. This is the mode most commonly used for MIDI editing.
Mode: named notes
Replaces the Piano Roll view with note names. Note: Only works when using a VSTi that reports note
names, such as Fxpansion's BFD. Check the REAPER forum to see if a note namer plug-in has been posted
for the VSTi you want to use. For example there are EZDrummer note namers available.
Mode: event list
Displays the event list. This is explained later in this chapter.
Mode: musical notation
Displays MIDI notes in musical notation view. See next chapter.
Join notes
Joins all notes in current selection to make one note per row.
Set note ends to start of next note
Extends the end of each note in a selection to the start position of the next note in the selection.
Select previous note/ Select next note
Selects previous or next note in place of current selection.
Select previous note with same pitch
Select next note with same pitch
Select all notes with same pitch
Selects previous, next or all notes with the same pitch as the
currently selected note.
Rename current note
Allows you to rename in the piano roll the note underneath the
mouse cursor.
Event properties (see right)
Certain events can be edited by entering values into text boxes.
For example, for notes you can change position, length,
channel, note, velocity, off value. You can use + or – to
make relative changes. For example, for note value, entering
+1o2 will raise the pitch by one octave and two semitones. You
can also enter note names directly into this field.
Other editable events include poly aftertouch, control change, program change, pitch, and song select.
Note channel (1-16)
A quick way to change the channel for the current note selection. For example, choosing channel 8 will
ensure that a note will use channel 8 -- and will send that note to the vsti or midi instruments channel 8.
Note velocity (1-127)
Used to change the velocity for a note or note selection to a specified value, within the range 1 to 127.
Notation
Presents a limited submenu of musical notation options – Voice, Phase/slur, Articulation, Ornament
and Note head. These are explained in the chapter immediately following this one. Notation data can be
displayed in a MIDI editor lane. It is selected n the same way as other data such as Velocity, Pitch, etc.
Note display can be filtered for channels 1 to 10 using any of the shortcuts Shift 1 thru Shift 0. Shift `
removes the note filter and restores all notes to view.
Using F1-F12 as step sequencer:
When Use F1-F12 as step sequencer is selected, the keys F1 thru F12 can be used to enter notes. These
keys are mapped to the 12 Semitones of an Octave, with F1 having the lowest pitch and F12 having the highest
pitch. The method for using this is the same as already described under the MIDI Editor’s main Options menu.
Note Properties:
The keyboard shortcut Ctrl F2 can be used to open the Note Properties box, as an alternative to choosing the
command from the right-click menu.
Selecting / Editing multiple Notes:
Multiple notes can be selected by holding down the Ctrl or Shift keys while selecting notes with the mouse, by
drawing a Marquee (Right-click and drag) around a group of notes, or by using Select All (Ctrl A).
The value of all selected notes can be adjusted by dragging one of the selected notes.
The duration of all selected notes can be adjusted by dragging the edge of one on the selected notes.
The note velocity of all selected notes can be adjusted by dragging the Velocity handle (when active) of
one of the selected notes.
The default Velocity value for notes created in the MIDI Editor is taken from the last selected event - e.g. if the
Velocity of the last selected event was 70, then the Velocity value for the next created note will be 70.
Event List mode displays the MIDI information as a list of events, in tabular form. In this mode you can use the
right click menu (shown left) to i(for example) insert, copy, cut paste, delete or mute any events. The full menu
is shown above.
You can also double click on any event to modify that event’s
properties (see example, right). The information displayed in
the Event Properties dialog box will in large measure depend
on the event type of event.
The Event List view toolbar is simpler than that of the other
two views. The Filter button is used to filter only those events
that you want displayed. The Add button will insert a new
event immediately before the currently selected event, and the
Del button will delete the currently selected event. The last
button toggles the docking of the MIDI Editor on and off.
Note: From the Options menu, the toggle command to
Display 14-bit MSB/LSB CC data as a single entry in
event list view and event properties dialog is by default
enabled. This causes 14-bit MSB/LSB CC data to be shown as
a single entry rather than separately.
strength fader is displayed (see above). This is used to adjust the swing setting within a range of -100% to
100%, or you can enter a value directly into the Swing % edit box to its immediate right. You should also set a
Notes value: left at Grid, this will take its value from whatever is chosen for the grid. Otherwise you may select
any other required value from the drop down list.
Used well, swing can result in a
more musically pleasing output.
In essence, you define a
percentage delay to be applied on the upbeat. For example, if you apply swing to 1/4 notes then those which
coincide with the 1/2 note divisions will be unaffected by the swing, those that fall
between these divisions will be delayed by the amount specified. Small amounts of
swing (even 5% or less) can help to prevent a part from sounding too rigid.
Quantize is non-destructive – that is to say, the process can be reversed at any time.
The various other commands on the Edit menu that are used with quantizing are:
Quantize notes using last settings
This bypasses the Quantize Events dialog box, making it easier for you to apply
the same quantization settings to various disparate selections.
Quantize notes position to grid
This quantizes notes according to your grid settings.
Unquantize events
Removes quantization and returns the notes to their previous state.
Freeze quantization for events
Freezes the quantization for all currently selected events.
Shown above is an example. The top picture shows two unquantized notes selected. In the second picture they
are quantized by moving them left. In the third picture, they are quantized by moving them to the right.
More quantize options are available in the MIDI Editor Action List, including actions to quantize note positions
to specific divisions, ranging from 1/4 down to 1/64.
Quantize within % range. These are similar to the Nearly Quantized and Far From Quantized faders in the
Quantize Events dialog box (see previous section).
In addition, the Main (alt Recording) section of the Action List includes actions to:
Toggle MIDI input quantize for all tracks, selected tracks, or last touched track.
Enable or disable MIDI input quantize for all tracks, selected tracks, or last touched track.
3. If you are using Windows, display the track’s routing window and add a MIDI Hardware Output to
Microsoft GS Wavetable SW Synth.
4. Play the tune. It should play with a piano sound.
5. Double click on the item to open it with the MIDI Editor.
6. Check the Contents menu to make sure that neither the Track List nor Media Item Lane are displayed –
you do not need them for this exercise,
7. Display the drop down note-length list (labeled Notes:) and set it to 1/2.
8. Scroll your mousewheel up or down until you are satisfied with the horizontal zoom setting. Use Ctrl with
the mousewheel to find an acceptable vertical zoom setting. You should see something like this.
8. Just for fun, draw in a few more notes by clicking and dragging in the edit
window. Experiment with using your mouse to move them about and change
their length (by clicking and holding over a note’s right edge and dragging left
or right). Delete any that you do not want to keep.
9. Now Zoom out horizontally to see the entire length of the item.
10. Display the CC Lane List and choose Bank/Program Select (see right).
11. At the very start of the song, double click in the CC Lane. Select the bank
General MIDI and the program Church Organ. Click on OK.
12. Return to the start of the timeline and play the tune. It should sound like a
church organ.
13. Draw in a few long
“dronish” notes as
shown below. Marquee
them (right click drag)
to select them all (but
only your new notes).
14. Right click over any of
the selected items,
choose Note Channel from the menu, then channel 2.
15. Double click in the CC Lane, at the start of the song. Select
General MIDI, Choir Aaahs and Channel 2 (see right). Click on
OK.
16. Play the song from the start. You should hear an organ with a choir.
The choir may seem too loud.
17. Change the CC lane to display 07 Volume MSB.
18. Click on the Channel Filter List (on the toolbar) and choose Channel
2. Now only your Aaahs are displayed.
19. Click/hold/drag your mouse as you sweep along the CC Lane with a fairly low volume setting, as shown
below.
20. Remove the
channel filter
and restore all
channels to
view.
21. Display the
Color drop
down list and
choose Channel.
22. Close the MIDI Editor and save the file.
23. Play it. The choir should now sound a lot quieter.
24. Continue if you wish to further explore the MIDI Editor on your own.
In the MIDI Editor Contents Track List each item is assigned three qualities – visibility status, active status and
editability status. These can be set as required to allow you to work with different items at different times.
Visible means the item and its notes are displayed in the MIDI editor window.
Active means that the item can be used for inserting, copying, pasting notes, etc.
Editable means that mouse edits (move, lengthen, etc.) and commands such as quantize, transpose and
humanize can be performed on an item's notes. One and only one item at a time may be active, but as many
items as you wish may at any time be visible and/or editable.
Note that:
An item can be visible without having to be editable or active. One or
more items may be visible.
An editable item will also be visible but need not be active. One or more
items may be editable.
An active item will also be editable and visible. One and only one item is
active at any time.
Any track or combination of tracks can be made active using the “eye” column in
the track list (see above right). A track can be made active by selecting it in the
track list, or from the Contents menu, or using the drop down list near the end of
the transport bar (see right). If the track contains only one MIDI item, that item will
be made active. If it contains more than one item, all items will be visible and
editable but only one item will be active.
The Filter Events window (accessed from the toolbar) allows you to select multiple
channels for display and editing. If you select two or more channels in this window, the drop down channel list at
the foot of the MIDI editor window will read “Multichannel” or “All channels”. Alternately, you can simply use the
drop down channel list to select “All.”
The MIDI column in the Track Manager (Chapter 12) can also be used to open items in/remove items from
the MIDI Editor, and to show items in/hide items from the MIDI Editor track list. Tracks can also be selected to
be shown in or hidden from the track list using the track list's context menu.
The Options when using one MIDI editor per project command (also on the MIDI editor Contents menu)
includes further ways in which you
can specify MIDI Editor behavior
when selecting and editing items
Item selection toggle options
are Active MIDI item
follows selection changes
in arrange view, Media
item selection is linked to
visibility and Media item
selection is linked to
editability. Select any, all or none of these.
Item editing toggle options are Only MIDI items on the same track as the active item are editable
and Close editor when active MIDI item is deleted in arrange view. Enable both or neither of these.
In the example shown here (left) three tracks are listed and displayed,
containing in total five MIDI items. The Piano and Guitar tracks holds two
items each. The Bass just one item..
The circular symbol to the left of each track name opens and closes
a list of MIDI items on that track.
This track list operates in much the same way as does the arrange
view track list. Click on any item name to select it, or on any track
name to select all items on a track. You can use control+click or shift+click to build a selection. The first
item in a built selection will be made active, but you can change this by clicking on the “make active” icon
of any other item. You can then use the various other icons to set qualities such as icon color, solo, mute
or editability for the entire selection. The small colored square to the right of an item name opens the color
picker: this can be used to select a different color to be used for this item in the Media Item Lane.
The column to the right of the color picker is the “make active” column. Click here to make any item the
current item for inserting events (shown by the green arrow). It will automatically also be made editable
and visible.
Click in the next column to the right of this to make any item visible and editable, indicated by the green
unlocked padlock icon. If contents do not appear visible, check 1) the scroll settings for the MIDI editor
window, and 2) the channel filter, to ensure that the required channel is included in the filter. This same
green icon can then be used to toggle editability.
The eye symbol to the right of this toggles the visibility of any item (or item selection) in the MIDI Editor.
The gray/red circle to the right of this (for tracks) toggles record arm status for that track. This is used in
conjunction with the Record button on the Arrange view Transport Bar.
Use the M button to the right of this to toggle mute status for individual tracks or items. Use the S button
to the right of this to toggle solo status for any track.
The track list can also be opened (shown) and hidden using the track select drop down list at the bottom of the
MIDI Editor window.
The Media Item Lane
This displays the MIDI items and their position in the arrangement. Clicking on any item highlights, selects it but
does not make it active. As with the track list, you can use control+click or shift+click to build a selection.
The individual media item right-click context
menu offers you various options for setting
items to custom colors or random colors.
editing activities on any part of the selection, such as copying or moving, adjusting velocity, stretching, shrinking,
etc. The table below gives some examples of how you can apply this to various MIDI editing tasks.
REAPER’s main MIDI Editor is recommended for serious and in-depth editing of your MIDI items. However,
many common tasks can be carried out using the in-line editor if you prefer. This allows you to edit the
MIDI item without leaving the main window.
The in-line editor displays piano roll view only, and the contents of CC lanes will be determined by whichever
lanes were selected last time the item was opened in the MIDI Editor. If it has never been opened in the MIDI
Editor, the Velocity lane will be selected by default. You can adjust the boundary between the editing area and
the CC lane with the mouse to adjust its height, just as in the MIDI Editor.
Right-clicking over the editing area will display a menu that will show you which editing tasks can be carried out
with the in-line editor. In summary, the following types of commands and actions are supported within the in-line
MIDI editor:
Note editing mouse actions, including change length, change velocity, marquee, move, delete and insert.
Most commands on the MIDI Editor’s Edit and View menus, including quantize and humanize.
When working with the in-line editor, any keyboard shortcuts and custom actions that you have defined in the
main MIDI Editor will apply, along with any defaults. For example, PageUp and PageDown will zoom vertically
in and out within the in-line editor. You can run your MIDI Editor custom actions within the in-line editor. The in-
line editor also displays a small toolbar in its top right corner. From left to right, the function of these tools is:
The Move CC with events toggle tool: serves the same purpose as its equivalent tool
in the MIDI Editor window.
The Show/Hide tool (magnifying glass): toggles between the functions Show all note
rows, Hide unused and unnamed note rows and Hide unused note rows.
The Item Style tool: toggles between rectangle, triangle and diamond note display.
The Vertical Scroll/Zoom tool. Click and hold on this and drag vertically up or down to
scroll vertically up and down, left and right to zoom vertically in and out (see example,
right). You can double-click on this button to zoom to contents.
The X tool. This closes the in-line editor and restores normal display.
The MIDI Editor and In-line Editor are designed for editing your MIDI events. Remember also
that many of the item editing tasks, functions and activities that you discovered in Chapter 7 can also be applied
to MIDI items as a whole. For example, in arrange view items can be dragged and dropped, split, copied, muted,
grouped in selection sets, locked and so on. Plug-ins can be added directly to an item's FX chain. Selecting a
MIDI item in Arrange view and pressing F2 will display its Item Properties window where you can shift pitch,
change play rate, loop enable/disable, and do much more.
In the alternative scenario, the new MIDI item becomes a discrete item in its own right, so that you can
independently edit either item without affecting the other.
By default, when you copy and paste items using the menus or keyboard shortcuts (such as Ctrl Shift C and
Ctrl V), the former method (with common source data) is applied. The items are also added to the Project Media
Bay (see Chapter 12) where they are listed as MIDI pool items.
To change this default behavior, disable the preference (under Options, Preferences, Media, MIDI) to Pool
MIDI source data when pasting or duplicating media items (see also Chapter 22). Items will then by
default be copied as discrete items. Note that a new MIDI pool item is never created when an existing MIDI item
is split. Note
also that by
default MIDI
items added to
a project from
the Project
Media Bay are
not pooled.
The default
behavior when
you copy an
item by
dragging with
the mouse
depends on your
mouse modifier
settings for the
context Media item drag. By default, the following apply when dragging MIDI items:
Drag and drop Move item ignoring time selection
Ctrl with drag and drop Copy item as discrete item
Shift Ctrl Alt with drag and drop Copy item, pooling MIDI source data.
For a complete list of mouse modifiers, see the Editing Behavior, Mouse Modifiers page
of your Preferences. Select Media item left drag from the context list. You can
change any assignments if you wish. The method is explained in Chapter 15.
You can remove any individual MIDI item's pooled status and convert it into a discrete item. To do this, either
display the item's source properties window (Ctrl F2 or use the context menu) and click on Un-pool this item,
or click on the item's pooled status icon (see above).
You can select all of the items (right-click and drag is often the easiest way to do this) and glue them together:
right-click anywhere on the selection and choose Glue items from the context menu.
You can then double-click on the glued item to open the MIDI Editor, from where you can export it as a single
MIDI file (File, Export to new MIDI file …).
MIDI data sent from one track to another in this way can be directly routed to any VST or AU synth in that
track's FX chain. To do this, right-click over the plug-in's “2 Out” button and choose the required MIDI Bus from
the MIDI Input menu (above right).
The same context menu can also be used to assign MIDI input or output to any bus, and/or to assign the synth's
audio output to any track channel or channels.
When a track FX chain includes volume and pan MIDI controls
(e.g. ReaControlMIDI), moving the volume/pan fader within the
routing window will generate CC7/CC10 events. When a send's
MIDI routing button is enabled, these CC events are sent to the
destination track.
ReWire users note that MIDI data routed in this way can be also
be mapped to ReWire, using any permutation of buses/channels
that you require. For more information about using ReWire with REAPER, see Chapter 17.
13.40 ReaControlMIDI
ReaControlMIDI can be used to set a track's various
MIDI parameters, including volume and pan. It can be
inserted from the track’s FX chain, or by right-clicking
over the track name or number and choosing Show
ReaControlMIDI for Selected Tracks from the menu.
(Note that the TCP volume and pan controls cannot be
used on MIDI items).
You can use different instances of this plug-in on the one
track to send different MIDI messages to different
channels. This enables you, for example, to send control
messages to a synth or virtual instrument placed after
ReaControlMIDI in the FX chain.
Many DAWs have MIDI tracks with MIDI-specific
controls, like bank/program select, MIDI volume and
pan, etc. REAPER instead uses ReaControlMIDI, which
provides a MIDI track TCP for any track.
You can insert multiple instances of ReaControlMIDI, or
insert it at any point in an FX chain, either for the track
as a whole or for individual items. Notable features of
ReaControlMIDI include:
Load File: You can load a REAPER .reabank file or
Cakewalk .ins file of instrument definitions and then
select a preferred bank/program combination.
Control Change: Up to five CC items can be selected
from the drop down lists. Any and all of the items
available for CC lanes in the MIDI Editor are available.
Show Log reveals a log of MIDI activities. You can
choose to include any or all of control change, sysex,
all-notes-off and/or meta-message activities.
With ReaControlMIDI you can also create MIDI CC track
envelopes to automate of any of the plug-in's enabled CC sliders. Automation will be explained in Chapters 18
and 19. You can also assign track controls to the TCP and/or MCP to manage its various parameters. This is
explained in Chapter 11.
inserting and using Track FX are covered in the section Track FX Basics. If you are unfamiliar with these steps,
you should review that section before proceeding.
If you display the Add FX window and type midi into the filter list box (as shown above), you will see a list of
those Midi FX that are currently available. Below are listed just a few examples.
MIDI CC LFO Generator A LFO Controlled CC generator.
MIDI Duplicate Note Filter Blocks duplicate notes.
MIDI Map To Key A MIDI key mapping utility.
MIDI Snap To Key This is a good cheat for bad pianists.
MIDI Router/Transpose Routes events from one channel to another
MIDI Tool and MIDI Tool II These do interesting and fun things to MIDI note events.
MIDI Transpose Notes Transposes a note or a range of note.
MIDI Velocity Variation Generator This is a pattern based velocity modifier.
MIDI Velocity Control Used to vary and control velocity on a MIDI track.
MIDI Pitch Wheel LFO A LFO Controlled automatic pitch wobulator.
These plug-ins can be made even more powerful by the use of automation envelopes, which can be applied to
any of their parameters. How to create, manage and apply automation envelopes will be covered in Chapter 18.
For more information about how to use these and other MIDI plug-ins, visit the Cockos web site, and in
particular http://www.cockos.com/wiki/index.php/Jesusonic_Effects_Documentation#MIDI
1. Open the file All Through The Night.rpp and save it as All Through The Night REAVOICE.rpp.
2. Mute all tracks except the Vox track.
3. Move the Vox track to the top, select it and press Ctrl T to insert a new track. Your Vox track is now track
1 and the new track is track 2.
4. Name the new track Vox MIDI.
5. Display the Routing window for the Vox MIDI track and add a new Pre FX Receive on Audio 1/2
from the Vox track.
6. Insert the ReaVoice plug-in into the FX chain for this track. For now make its settings as shown above.
Note in particular the number of voices and the long sustain setting.
7. In the Vox MIDI track,
insert an empty MIDI item
from about the 13 sec mark
to about the 50 sec mark.
This should coincide with
the first vocal passage on
the Vox track.
8. Double click on this to open
it in the MIDI Editor.
9. Create a pattern of notes
similar to that shown above.
You don’t need to follow this
precise pattern, be prepared
to experiment.
10. As you play the song, make
sure that the two vocal tracks are soloed. You can of course
edit any individual note or notes, for example, by moving
them up or down, by lengthening them or shortening them, or
by changing their pitch. Here are some more possibilities,
just for fun and to give you some ideas.
11. Within the MIDI Editor window, press Ctrl A to select all
events.
12. Press Ctrl F2 to display the Event Properties dialog box.
13. Select Note as the Event Type. In the Note value box, type
+2 (as shown) then click on OK. This raises the entire
selection by two semitones.
14. Play the song. Notice the vocal effect!
15. Experiment with other settings as you wish. Save the file
finished.
16. Now experiment with adjusting some of the ReaVoice settings.
3. You need a synthesizer to use with Sequencer Megababy. You could use one of your choice, but for this
example insert an instance of ReaSynth. For now, leave its settings at their defaults, except (as a
precaution) Volume. Set this to about -15 dB. If this turns out to be too low, you can later raise it.
4. Also as a precaution, insert the JS: MGA JS Limiter and set Ceiling to -3.0 dB.
5. Select the Sequencer Baby plugin. Some of its main controls are shown below.
6. Click and drag in a few places (example shown below) to enter a note pattern.
7. Click Play on REAPER's transport bar. This pattern will play over and over again.
8. Stop playback. Change the
Steps per beat value to 8 and
play again. Notice the music
plays faster.
9. Set this to 2: notice playback
becomes slower. Set this back
to 4.
10. Change Sequence length to
24. The sequence becomes
longer. Draw some more notes.
11. Click on the number 1 above the
pattern grid (but below the
parameter controls). A new
screen is shown: here you can
create another pattern. Do this!
12. Now hold the Alt button while
clicking on the number 1
button. Notice the column
headers change color.
13. Play the music. The two
patterns (0 and 1) are now
chained. You can chain up to
16 patterns.
14. If you wish, save the file.
15. You can also record the synth's
output as an audio item. Arm
the track for recording, choose
Record output (stereo)
from the record arm context menu, then press Ctrl R.
Note: The four lanes below the pattern grid area can be used to set
modulation, volume, pan and/or expression values for individual notes or
any sequence of notes. Click/sweep to create an envelope: right-click on any
node to delete it, right-click/sweep to delete entire envelope.
Summary Examples of Sequencer Baby Keyboard/Mouse Control Combinations
Left click-drag Draw new notes/ erase existing notes.
Right click-drag Audition notes without drawing.
Shift Ctrl Alt Left click-drag “Sweep” draw notes freehand / erase existing notes.
Ctrl Left click-drag Adjust note velocity.
Shift Left click-drag Adjust note start offset..
Ctrl Left-click / Ctrl Right-click Halve steps per beat, slow down / Double steps per beat, speed up.
Left click pattern number Select pattern number.
Ctrl right-click pattern number Clear pattern.
Alt Left-click pattern number Set pattern chain end.
A more complete list can be displayed by clicking on the plugin's Edit button.
13. Open the empty MIDI item in the MIDI Editor. Ensure that the Bank/Program Select lane is visible.
14. At the point where you want to make your first automated preset change, double-click in the
Bank/Program Select CC lane. This will display the
Bank/Program Select dialog box.
15. Click on Load File. Navigate to and select the file that you
saved at step 9. and click on Open.
16. The preset bank will now be loaded. Display the Program drop
down list and select the required preset (see right). Be sure to
select the same channel as you specified at step 10. Click on
OK.
17. Repeat step 16. as many times as you wish to create as many
automated preset changes as you require.
18. You should now be able to see your program changes
displayed in the MIDI Editor CC lane (see below).
19. Play the song. Your ReaDelay presets will now automatically
change according to your instructions!
The staff is the five line grid on which notes can be written, and which is used to display the notes. If a MIDI
item recorded using a keyboard or created by hand within the MIDI editor is opened in the notation editor, then
that item will be automatically scored. You can also edit that score, or add to it, within the notation editor. The
staff is divided into a number of measures for the duration of the piece. The number of beats to a measure is
itself determined by the time signature (see also below).
On the left end of the staff is displayed the clef. For the treble clef the first (lowest) line of the staff represents
E this goes up alternately thru grid spaces and lines to F, G, A, B, C, D, E, and F. The bass clef uses the same
musical alphabet but goes up G, A, B, C, D, E, F, G, and A. Where a note needs to be displayed above or below
the range covered by the staff, this is done using ledger lines.
A different symbol is used to represent each note, from double whole note or breve (not shown) thru (shown
from left to right below) whole note (semibreve), half note (minim), quarter note (crotchet), eighth note
(quaver), sixteenth note (semiquaver), thirty-second note (demi-semiquaver) and sixty-fourth note (semi-demi-
semiquaver). Above you can see where ties have been used to join together two or more adjacent notes of the
same pitch, effectively creating a single longer note.
To the immediate right of the clef are the key signature (if present)
and the time signature. The key signature designates notes to be
played higher or lower than its corresponding natural note. The time
signature determines how many beats there are per measure, and
what kind of note gets the beat. For example, in 4/4 time there are four beats per measure with the quarter note
getting the beat. In 3/4 time also the quarter note will get the beat, but with only three beats in a measure.
Finally in the diagram you can see Rests. A rest represents a period
of silence in a bar. The duration of the rest corresponds to a note
length and is indicated by the symbol used, as illustrated in the
examples shown on the right.
You can also see that the MIDI editor environment is also the same. For example, the menus and toolbars are
the same, as is the essential MIDI Editor functionality. In either of the two view shown here, for example, you
can add, delete or move notes.
Note that a MIDI item can be displayed in only one view at a time (e.g. musical notation mode or piano roll
mode, but not both at once), although different items may be open at the same time in different views in
separate MIDI Editor instances.
Note also that the methods employed when working within the different views (or modes) are as far as possible,
the same.
For example, use
double-click to insert
a new note. Use right-
click-drag to select a
series of notes
(marquee). You can
perform tasks on your
selection such as
delete, move, copy,
quantize or humanize,
and so on.
As you will see later in
this chapter, musical
notation view also
incorporates a large
number of extra
features that are
specific to scoring
music.
First, let's return for a moment to our simple example.
In this case, we have
added some more
notes in the piano roll
view (shown here as
selected).
When we switch to
musical notation view,
we can see that the
edits are also
displayed there.
Thus the process of
working and moving
between the different
modes is quite
seamless.
If you are working
with projects which
contain more than
one track with MIDI
items, and/or more
than one MIDI item per track, it is important that you understand your options for managing how the MIDI
Editor (including musical notation mode) can handle these. You might already be familiar with this, from sections
13.27 to 13.29 of this guide. If necessary, refer back to these sections, but there follows a brief summary.
To the right of the page, at the end of each pair of rows there is a pitch cursor in the form of a small gray
triangle. This shows the current pitch that will apply when keyboard actions such as insert note are
applied. An accidental (sharp or flat) will be shown beside it if the pitch is not in the current key. This
symbol is editable by dragging up or down with the mouse.
Now let's take a look at
some other features that
might not be as
immediately apparent. You
can see several things in
this illustration, which will
be explained shortly.
Lyrics have been
added just below
the first staff.
Notations (in this
example, crescendo, play very loud, and diminuendo) have been made above the staff.
A time selection and separate loop selection have been made. This could initially have been done in
arrange view, but can also be edited in notation mode. For example, you can grab the handles with the
mouse to adjust the start and end points of the loop.
Some notes are also marked with color. These are the currently selected notes. How they are colored will
depend which option you have set – channel or velocity or pitch, etc. Setting color to velocity can be
especially useful, as in notation (as opposed to piano roll view) there is no other way to display velocity.
Example
Before digging any deeper, familiarise yourself with the basics of the musical notation mode environment. Make
a copy of one of your MIDI projects, then, as a first exercise, strip it back to a few simple MIDI items on no
more than two or three tracks.
Open this in the MIDI editor and get used to the feel and flavor of musical notation mode. Don't yet be too
ambitious: restrict yourself at first to simple tasks like adding or deleting notes, moving or copying loop
selections, etc. Get to grips with switching between modes and editing in both. Don't worry if you mess it up
occasionally – it's just a scratch pad!
We'll get to explaining how you manage the other (and perhaps more interesting) features shortly, but there's a
couple of other points worth making first.
Bracket tracks by folder: Enabling this option will cause a bracket to be drawn to the left of the score to
indicate where a number of consecutive tracks belong in the same folder.
Color note heads: Determines whether or not note heads are colored in accordance with whichever option has
been selected (View, Color notes by command).
Position dynamics below the staff by default: a toggle option that determines positioning of dynamics on
the staff.
Automatically detect triplets: a toggle option. Tuplets and triplets are discussed later in this chapter.
Automatically voice overlapping notes: Voicing allows the notes that make up a chord to be arranged in
various ways so as to vary the sound. The automatic voicing of overlapping notes can be toggled on and off.
Show project tempo changes: A toggle to determine whether or not project tempo changes should be
displayed above the score in the notation editor.
Key signatures: Allows you to specify how key signature should be managed. Sub-menu toggle options are
Key signature change affects all tracks and Transposing display affects key signatures..
Display quantization: The default setting is 1/16 but you can use the slider to choose 1/64, 1/32 or 1/8.
Display quantization, Minimum note length: The default setting is 1/64, but you can use the slider to
instead choose 1/256, 1/128, 1/32, 1/16 or 1/8.
Neither your display quantization nor your minimum note length settings will affect the underlying MIDI in any
way. They only determine how notes are displayed. To understand how these two options work, you need to
consider them together.
The display quantization setting ensures that for display purposes all but the shortest notes will be rounded to
whatever value is selected. The minimum note length setting allows shorter notes to be displayed regardless of
the display quantization setting. For example, if display quantization is set to 1/16 and minimum note length to
1/64 (the default settings), then notes slightly longer or shorter than 1/16 will be displayed as 1/16, those
slightly longer or shorter than 1/8 will be displayed as 1/8, and so on. It will, however, still be possible to display
notes shorter than 1/16, such as 1/32 or 1/64.
In addition, the Contents menu includes a toggle option All media items are editable in notation view.
Options like these can be enabled or disabled. You can also assign your own shortcut keys for any actions, or
add them to the MIDI Editor's menus or toolbars. The actions list is covered in more detail in Chapter 15:
some time spent browsing thru this list could prove to be time well spent.
Each MIDI item can have its own key signature, or no key signature. If no key signature is specified for an
item, it will take its key signature from the previous item on the same track. If there is no previous item on
the same track and no key signature defined, it will not have a key signature.
Only a relatively small number of the commands that are
exclusive to musical notation view affect the actual MIDI notes
themselves. These include deleting and inserting notes and
setting tuplets. Other actions such as articulations, lyrics,
notations, etc. will only affect what is drawn on the page, not
the underlying notes themselves.
You can right-click on the timeline (which displays the bar/measure numbers) to access the MIDI editor's
general context menu.
The Staff and Note Context Menus: Editing Commands and Options
The tables in this chapter use the default notation editor context menus, as they come with REAPER “out of the
box.” However, both the notation staff and the notation note context menus can be customised to suit your
particular requirements. How to customise menus is explained in the chapter following this one.
To change the default clef, right-click over the clef and select Default clef from the
menu. Options include Treble + Bass, Treble, Bass, Alto, Tenor, Treble -8,
Treble +8, Treble+15, Bass -8, Bass-15, Percussion Percussion (one-line)
or Chart.
The chart option creates a staff with no notes, just beat markings, chords, and other
notations.
Changing the clef To insert a new clef at the start of a measure, right-click over the existing clef and
choose Change clef then select from the list of available choices. These choices are
the same as those available on the Default clef menu.
To delete such a clef, right click and choose Delete from the change clef menu.
Delete a key Right-click over the key signature and choose Change
signature key signature then Delete key signature from
context menu.
Insert text above Right click at required location, then choose Text/Custom and Enter text... from
score menu. Type text and press enter. To edit existing text, right click over it and select
Text, Enter text... from menu. To remove, right-click and choose Remove.
Change a dynamic To change a dynamic notation from one menu item to another (e.g. from pp to
notation ppp), right click on the notation and make your selection from the menu.
To change a notation from a menu item (such as pp or ff or crescendo) to text,
double click on the notation, type the text and press Enter.
Insert custom From the context menu choose Text/Custom, then Custom Notation, type a
notation name in the Name box, select a symbol and click OK. Your named custom notation
is also automatically added to the Text/Custom menu for future selection.
Extend or shrink a Hover your mouse over the start or end of the item, so
crescendo or that the mouse cursor changes to a double-headed
diminuendo arrow. Click and drag left or right, as required.
Move a notation or Hover your mouse over the middle of the item, then click-hold-drag to drag and drop
lyric the item to its required position.
Move, Change or Edit To move a tuplet, simply drag and drop to the required
a tuplet position.
To change a tuplet, right-click on the tuplet, choose Edit
tuplet... from the menu, make your changes to dialog box
settings and click on Apply.
Remove a tuplet To remove a tuplet, click on the tuplet and press Delete. It can also be deleted
using the Remove button in the Edit tuplet dialog.
Understand and If the option Automatically detect triplets is enabled, them triplets will be auto-
manage tuplets detected. Auto-detected triplets will be displayed in gray. If you move or alter an
auto-detected triplet
(not the component
notes, but the tuplet
bracket itself) it will
remain until you
manually delete it.
Right-click on a tuplet
to open the Edit tuplet dialog. You can change note length, voice and/or staff
position, or use the Remove button to delete it.
Tuplets can also be added and attached to note selections as they are inserted. This
topic is covered in the next section.
Pedal notation Choose Pedal from the context menu for two pedal notation options – Engage
pedal and Release pedal. You also have a toggle option to determine whether
pedal notations should be displayed.
Chords Use this to access the toggle command Identify chords on editor grid.
Stem This command enables you to over-ride the default stem direction for a note or note
selection. Options are Stem up, Stem down, or restore Default stem direction.
Tuplet For detailed information about tuplets, see the preceding table General Editing
Commands and Actions.
Tuplets can also be defined as an attribute of a
selection of notes. For example, you could set
three notes to be a tuplet, and REAPER will do its
best to figure out the correct start, end, duration
of the tuplet based on the note positions, even as
they changed around.
To do this, make your note selection, choose
Tuplet, Create tuplet from the context menu, then enter your required values
in the Edit tuplet dialog box.
The result of this might not always be to your liking: for this reason, you might
prefer to use the method explained in the table General Editing Commands
and Actions.
Voice Notes can be set to High voice or Low voice. To do this, simply make the selection,
then right-click over it and choose Default voice, High voice or Low voice from
the context menu.
Notes in a given voice will be grouped and
beamed together, and have their stems point
away from the other voice, for visual
identification of separate musical lines.
You can also select a voice for a newly inserted
note in the same way. From Voice on this menu
(or from the general editing context menu), you
can Select all notes in high voice or Select all notes in low voice.
For high voice notes, articulations will be shown immediately above the notes: for low
voice notes they will be shown immediately below the notes.
Note also that the Color drop down box includes an option to specify that selected
notes should be colored by voice, and that the Voice drop-down determines which
voice is assigned to notes as they are inserted.
Phrase/slur Think of a musical phrase as being conceptually similar to a phrase in the English
language. Take the example of the old Irish song, Cockles and Mussels. The words
“alive alive oh” can be seen to make up a phrase. They belong together, and the end
of that phrase would be a suitable place for a very brief pause. Likewise, the musical
notes accompanying those words can be said to make up a musical phrase.
The curved line that denotes the notes included in the phrase is known as a slur.
Shown here is the default technique (normal). You can choose a different slur
technique (slide, bend, or hammer/pull) by choosing Phrase/slur, Technique from
the notes right-click context menu.
To define an actual phrase, first select the
notes then choose Phrase/slur, Make
phrase/slur from the right-click context
menu. A phrase is indicated by a curved line
(slur), as shown here. You can edit the phrase as a unit by clicking and dragging on
the phrase mark.
To select all notes in a phrase, select any note in the phrase, then right-click and
choose Phrase/slur, Select all notes in phrase/slur. Phrase/slur, Remove
phrase can be used to remove a phrase from a note selection.
Octave Use this command to move a note selection outside the staff up or down the display
by 1, 2 or 3 octaves. This is another command that does not affect the underlying
MIDI notes themselves.
Notes that are very high or very low (and far away from the staff) can thus be moved
closer to the staff without their pitch being affected.
Ornament (cont) A lower mordent (also known as an inverted mordent) is a single rapid alternation
with the note below. An upper mordent is a single rapid alternation with the note
above. It is often called simply a mordent.
Snap is an instruction to snap the string, so that it snaps back on the fingerboard.
Pluck is an instruction to pluck a stringed instrument.
Up bow and down bow also apply to stringed instruments: up bow is an instruction
to draw the bow upwards or to the left, down bow downward or to the right.
An ornament can be removed by right-clicking on the note or note selection and
choosing Remove ornament from the context menu.
Text/Custom Inserts text or custom notation. See General Editing Commands and Actions.
MIDI Editor Edit At the bottom of the notes context menu there is a section containing the several
Commands. MIDI Editor Edit menu commands – Copy, Cut, Paste, Paste preserving position
in measure, Select all, Delete, Insert note, Set note ends to start of next
note )legato), Select previous note, Select next note and Note Properties.
The Note properties... dialog is explained in Chapter 13.
Note: The notations created in musical notation view will also be shown in event list view (see Chapter 13).
Item Comments
Filter You can filter the list of displayed actions using any text string or strings that you
See also section like. For example, in this screen shot the list has been filtered to show only those
Using Search Filters actions that relate to new tracks:
for more advanced
options.
Notice that one of these actions – Track: Insert new track – already has a
shortcut (Ctrl T) assigned to it.
Boolean search terms are supported. For example, you could search for any of these:
delete OR remove OR clear
insert ( item OR media ) (spaces before and after parentheses)
properties ( take NOT channel ) (spaces before and after parentheses)
Notice that where an existing keyboard shortcut exists it is shown to the left of the
action. For example, the ! Key is used to toggle the action View: Expand selected
track height, minimize others. Similarly, you can see that Ctrl Shift
Mousewheel can be used to adjust the height of any track selection.
Clear The Clear button clears any current filter and restores all actions to the list.
Finding assigned The Find shortcut... button is used to see if a particular keyboard shortcut has
shortcuts already been assigned to any action. Click on this button and you are prompted to
type a key or move a MIDI controller. We'll come to MIDI controllers later in this
chapter. If the key is already in use, its assignment will be displayed (see below).
In this example above, we have searched to see if an assignment exists for the letter
s. For this kind of search, you should only type in upper case if you really are
searching for the combination of Shift with the letter. For example, in this case, a
search for Alt Shift S would have produced Item: Split item at play cursor.
You can also use the search filter to search more generally for existing shortcut
assignments. For example, typing alt+shift in the filter box would list all shortcuts
which include both the alt key and the shift key.
This can be handy to help you establish (by elimination) which keyboard
combinations are and are not currently in use.
Item Comments
Column headers/ The State column indicates for toggle actions whether their status is on or off.
Sort keys By default, actions are listed in alphabetical order of their description. You can click
on the Shortcut column header to sort instead on current keyboard assignments
with special characters and numbers at the top of the list (see below).
Click on the column header again to reverse the sort order. Click on Description to
sort them back into alphabetical order.
Sections The Action List is divided into a number of sections (or contexts). You can assign the
same keys to different actions in different contexts – for example, in REAPER’s Main
section S is used to split an item. This can be assigned to a different action in, say,
the MIDI Editor. This is explained in more detail below.
Run An action can be executed from within the action list whether it has a shortcut key
assigned or not. Select the action, then click the
Run button.
If the toggle Show recent actions is enabled on
REAPER's main menu (right) then any actions
executed during your current session will be added
to REAPER's Action menu and can be executed from there for the rest of that work
session. When you close REAPER, these actions will be cleared from the menu.
Run/Close This button is similar to the Run button, the main difference being that after running
the selected action it closes the Actions window.
Show action IDs This toggle option (from the right-click context menu) shows/hides a column
displaying REAPER's action IDs.
General The Action window exhibits the basic characteristics of other REAPER windows. For
example, you can use the pin symbol (top right) to keep it on top, or you can dock it
in the docker (from the right-click context menu).
5. Click on OK. You can see that this keyboard shortcut has now been assigned.
6. Close the Actions window. You can now use the shortcut key lower case Q to toggle Solo in front when
listening to a soloed track.
Here’s a simple example. Normally, to split an item you need to select it, position the edit cursor at the required
position, and then press S. Using a custom action, we can combine this sequence into a single keystroke.
Example
1. In the Actions List, click on the custom actions New button. This opens the Create Custom Action
window (see below right). Type a name, such as Split under mouse.
2. In the list of actions in the left panel find View: Move edit cursor to mouse cursor. Double-click on this.
3. In the list of actions shown in the left panel. Find the action Item: Select item under mouse cursor.
Double-click on this action.
4. In this list of actions
double-click on Item:
Split items at edit or
play cursor.
5. Click on the option
Consolidate undo
points to enable it. Click
on OK. You will be
returned to the main
Action List with your new
custom action selected.
6. Click on Add and type
lower case c to assign c
to your macro. Click OK.
Close the Actions List
Editor.
7. Hover your mouse over any media item and press lower case C. The item will be split at that point. One of
the split items will still be selected. If you don't like this, you can edit the macro.
8. Open the Actions List Editor, find your macro Split under mouse and select it. Click on Edit. Add to the
end of this macro the action Item: Unselect all items. Click on OK.
9. Now test the macro again. This time it will split items without leaving anything selected.
This is just one example of a custom action macro in action. Think about other sequences of actions and
commands that you use together … think actions, think macros! You'll also find plenty of ideas and inspiration on
The Useful Macro Thread on REAPER's Q&A, Tips, Tricks and How To forum – at forum.cockos.com.
edge ignoring snap the new default behavior when clicking and dragging from the media item edge.
7. Double click on Default action and select Move item edge ignoring snap from the menu. Now
double click on the modifier Shift and select Move item edge from the menu.
8. Click on Apply. These two items have now been swapped over.
9. Now select Media item double-click from the context drop down list. Modifiers for this context will now
be displayed. Suppose that we want to create an action which can be used to open the item's FX chain
window, and that we wish to assign Shift Ctrl for this.
10. Double-click on the text Shift+Ctrl to display a menu. Click on Action List … to open the Action List
Editor. If you have worked thru the earlier examples in this chapter, this will be familiar! Find the action
Show FX chain for item take and select it. Click on Select/Close to return to the Mouse Modifiers
window. Click on Apply. This action is now your media Shift Ctrl double-click action (see below).
11. Repeat this procedure to apply the action Item
properties: Toggle items mute to the modifier
Shift+Win. Click on Apply.
12. Finally, we can add an action to the Ruler double-
click context so that the Shift modifier will remove
any current loop points.
13. Select Ruler double-click from the context drop
down list. Double click on Shift in the modifier
column and select Action List... from the menu.
Find the action Loop Points: Remove loop
points, select it then click on Select/Close and then Apply.
14. Close the Preferences window.
If you do not wish to keep these assignments, use the Import/Export button to restore factory defaults.
Remember! When you are assigning actions to mouse modifier keys you are not limited to using REAPER's
native actions. Provided that you have installed the SWS extensions you can use any of the SWS actions. You
can also use any custom actions that you have created yourself.
Note: When you select a mouse modifier context, in some cases an option relevant to that specific context will
be displayed just below the list of behaviors. Look out for these. For example, for both the Track and Media
items contexts you can specify whether the item label area (above the media item) should be regarded as part of
the media item or as empty space.
Tip for MacOS Users:
Next to the Import/Export button you will find a Swap cmd/opt button. This
can be used to swap over all Cmd button and all Opt button assignments for
the currently selected mouse modifier context,
15.21 Saving and Restoring Mouse Modifier Settings
Mouse modifier settings can be saved to and restored (loaded)
from REAPER mouse map files using the Import/Export button.
Settings can be saved/restored for the current context only, or for
all contexts (see right).
15.22 MIDI Editor Mouse Modifiers
Using mouse modifiers in the MIDI Editor is a topic that merits a
section of its own. Nowhere is this more true than when you are
editing MIDI notes and CC events.
A large number of actions are available for use in the MIDI editor.
One example is the MIDI note left click context (below). If you use the MIDI Editor a lot then you should
definitely take some time to investigate and to identify which of these actions are most useful to you. For
example, you could reassign Alt to be used when clicking on any note to erase it. Notice that in addition to the
other shown on the menus, you can choose to open the Action list and select an action there.
All actions in REAPER's Action List MIDI Editor and MIDI Event List Editor categories (including any custom
actions of your own) are available to be assigned as a mouse modifier in most contexts within the MIDI Editor.
MIDI Editor mouse modifier contexts include:
MIDI note left click, MIDI note left drag
MIDI note double click
MIDI note edge left drag
MIDI CC event left drag
MIDI CC lane left click/drag
MIDI CC event double-click
MIDI CC lane left drag
MIDI CC lane double-click
MIDI source loop end marker left drag
MIDI ruler left click, MIDI ruler left drag
MIDI ruler double-click
MIDI marker/region lanes left drag
MIDI piano roll left click
MIDI piano roll left drag
MIDI piano roll double-click, and
MIDI editor right drag.
Let's take a brief look at some of these areas in which you can modify mouse behavior within the MIDI Editor.
Shown here are the defaults for MIDI note left drag, MIDI
piano roll left drag and MIDI ruler left drag. In many cases
separate contexts are available for left click, left drag and
double-click behavior. You can define how your mouse behaves
when it is being used in any of these contexts.
Within most contexts you will find several different types of
mouse action. For example, when working with MIDI notes, a
different action will be required when (say) dragging a note from
when double-clicking on it. Thus, within the Mouse Modifier page
of your preferences, you can select not only a context but also a
type of mouse action.
Here are two examples: the default actions for the
contexts MIDI note left drag (above right) and MIDI
piano roll left drag (right). By default many actions are
already defined. For example, simply dragging a MIDI
note (or selection of notes) will by default move the
note(s), whereas holding Ctrl while you do this will
copy them. For example, holding Shift and Alt while
dragging a marqueed selection of notes will stretch the
selection out horizontally so as to arpeggiate the notes.
Simple click and drag in the empty MIDI piano roll area
will first draw a note, then extend it as the
mouse is dragged. Various keys can be used with
this for other actions. For example, holding Ctrl
and Alt while dragging will paint a straight line of
notes between mouse up and mouse down.
Many key combinations are not assigned. Click
on any of these for a list of actions that you can
use. You can also use this method to change any
existing assignments. Shown right are the
default actions which are assigned to the MIDI
ruler left drag context.
If you use the MIDI Editor a lot, you should take
the time to explore just what is available for the different contexts.
Take the time also to look at the MIDI editor right drag assignments. As well as several variations to set
marquee behavior (select notes, add notes, toggle selection, etc.) there is also an action using Ctrl Alt to select
all notes touched while freehand dragging.
Note:
The Import/Export
button can be used to
export current settings
for any context or all
contexts to a
ReaperMouseMap file,
to import a previously
saved mouse map file,
or to reset all modifiers
to factory settings.
Example
In this example you will learn how to add an action to a REAPER menu as a new command, and how to remove
an unwanted command. You'll also change the order of some commands. As with many other exercises in this
User Guide your main focus should not be on the example itself but more on the technique.
Suppose that you do a lot of work with markers, and that you would like to renumber markers in timeline order
quickly and easily without having to remember a keyboard shortcut. You could add the action to the Ruler
context menu. While you're about it, you can also remove the command Insert empty space in selection
(assuming for the sake of the example that you think you do not need this command). Follow these instructions.
Example
1. From REAPER's Options menu, open the Customize menus/toolbars window.
2. Display the drop down menu list and choose Ruler/arrange context.
3. Click on any one of the commands in this menu – for example Set selection to items.
4. Click on the Add... button, then choose Action... This causes the Actions List Editor window to be
opened.
5. In the filter box type: mark renum – this should find the
action Markers: Renumber all markers in timeline
order.
6. Select this action then click on Select/close. The Actions
window will close and you will be returned to the Customize
menus/toolbars window. This action has now been added to
the menu and is selected (see right).
7. With the item still selected, click on Rename...
8. You will be prompted for a new name. Type: Renumber
markers and press Enter.
9. To move this up the menu, drag and drop it above Zoom selection.
10. Now select the item (lower down the list) Insert empty space in selection. Click on Remove to
remove this from the menu.
11. Make sure you have enabled the option Include default
menu as submenu.
12. Click on Save then Close.
13. Create some markers in this project, out of timeline order.
14. Right-click on the ruler/timeline (see right). Choose
Renumber markers to renumber your markers.
15. Notice at the bottom of this context menu the item Default
menu: Ruler/arrange context. This can be used to access the original context menu.
16. If you wish to restore this menu to its original state, open the Customize menus/toolbars window
again and with the Ruler/arrange context still selected, click on Reset then Reset current
menu/toolbar to default. Click on Save then Close.
The procedure is similar to that used for menu customization. Make your changes to the existing default toolbar
layout thru the Customize menus/toolbars dialog box. This can be displayed by right-clicking over the empty
area of the toolbar background, or by choosing Customize menus/toolbars from the Options menu. When
the Customize menus/toolbars window is displayed, choose Main Toolbar or one of the MIDI View toolbars
from the drop down list in the top left corner. We'll get to Floating toolbars a little later in this chapter.
Export the current custom toolbar or Click on Export... , choose Export All or Export Current,
all toolbars/menus as a then type a name and click on Save (see also note below).
ReaperMenuSet
Replace the current custom toolbar or Click on Import... then select the required menu set file, then
all toolbars/menus with a previously click on Open.(see also note below)
saved Reaper Menu Set
Note: ReaperMenuSets can also be included when exporting/importing REAPER configuration preferences and
settings – see Chapter 22.
Example
The real benefit of this exercise will come from it teaching you a technique, not from the actual example.
1. Right-click over the toolbar area (but not any
specific tool) and choose customize
toolbars... from the context menu.
2. Click on the last item on the toolbar (Enable
locking) then click on Add... to open the
Actions List.
3. Find the action View:
Toggle master track
visible. Select this, then
click on Select/close.
This item will now be
added to the list of toolbar
items. In the icon display,
it will be labelled
something like “Tog Mast”.
4. Drag this item up or down
the list to whatever position you want it to take.
5. If you do not like the text Toggl Mas you can right-click over the item
in the list and choose either Change icon (to select an icon) or Text
icon (to type a different text label). If you choose text icon, you may
also select a Double width toolbar button option for better text
display.
6. Click Save and then Close. If you don't want to keep this icon, access
the customize menus/toolbars window again and simply remove it.
Tip: The command Position toolbar can be used to change the position of
or float the main toolbar: see section immediately below this one.
Shown here is an example of custom toolbars, used to give easy access to various track and windows screen
sets. Let's see how this was done.
Example
1. With the Customize menus/toolbars window open select Floating toolbar 1.
2. Click on Retitle... and
type Screen Sets. Press
Enter.
3. Use the Add... button to
open the Actions List window. Select Screenset: Load window set #04, then click on Select.
4. With the Actions List window still open, select the action Screenset: Load window set #03 and again
click on Select.
5. Repeat step 4 several times to select the other actions required for this toolbar..
6. Select the action Screenset: Load track view #01 then click on Select/close.
7. If necessary, drag and drop any of these items up or down the list to put them in your preferred order.
8. If necessary, remove any unwanted items on this toolbar.
9. Right-click over each item in turn and choose the Text icon command. Enter a label, such as Track Set 1
and enable the option Double width toolbar button.
10. Save and Close the Customize menus/toolbars window when finished.
This exercise has shown you how to create a custom toolbar. Only you can decide, however, when you should
create them. Use them for those activities that you use the most. For example, if you find yourself getting
frustrated when navigating and zooming, then make a zoom/navigate toolbar. If you spend a lot of time editing
media items, make an item edit toolbar. In Chapter 18 you'll find a custom toolbar for working with envelopes.
Display of the toolbar docker is toggled using the View, Toolbar docker command. A tip worth remembering is
that toolbar layouts (tool positions) are by default saved with windows screensets. This makes it easier to switch
between using and not using the toolbar docker, or using different toolbar selections in the toolbar docker at
different times.
The following table summarizes the main features of the toolbar docker.
Remove a toolbar from the In the toolbar docker, right click over the toolbar's name tab, choose
toolbar docker Position toolbar then Close toolbar or one of the display options
such as floating or at top of main window.
Replace one toolbar on the In the toolbar docker, right click over the toolbar's name tab, choose
docker with another Switch toolbar then select the required toolbar.
Display toolbar contents In the toolbar docker, click on toolbar name tab.
Dock the toolbar docker Click on the ! (exclamation mark) on the left end of the toolbar docker,
then choose any one of the four attach docker position options bottom,
top, left or right. In the example shown above, this has been docked at
the top.
Undock the toolbar docker Click on the ! (exclamation mark) on the left end of the docked toolbar
docker, then deselect the option Attach Toolbar Docker to main
window.
In every case, make sure that you choose the options that are correct for your device from the various Control
Surface Settings options. Shown below is one example of such settings, with a Novation Nocturn. This sample
screen is not intended as a model for you to use with any particular product.
You might wish to install several devices in
this way. For example, you might wish to use
both a Frontier AlphaTrack and a Frontier
Tranzport. This is perfectly possible, so long
as each device is installed correctly.
You will need to consult the product
documentation to ascertain how then your
control surface(s) can be used with REAPER.
If your device is not on the list of recognised
control surfaces and cannot emulate any of
the items on that list, you can still use it with
REAPER. An example of such a product is the
Behringer BCR2000. Once it has been
physically set up and installed on your
computer, it will appear on the list of
REAPER's MIDI Devices. Depending on the actual product and which drivers you are using, it might appear on
this list with its own name or merely as a USB Audio Device.
Install it as a MIDI Device,
most likely Input Only and in
most cases for control
messages only. An example
of this is shown here. You
can double-click on the
device name to open the
Configure MIDI Input
dialog box. What you do
next will depend on the
device. You might also use
this method to use your
MIDI keyboard also as a MIDI controller (depending on whether the keyboard supports this feature).
Once such a device is installed, you can then assign any action listed as supporting midi CC control to one of the
knobs, faders, buttons or rotaries on your control device.
The procedure is similar to
assigning an action to a key
on your PC keyboard. Open
the Actions List from the
REAPER menu. Select the
action, click on Add then
instead of pressing a key on
the keyboard, tweak the
control surface control and
click on OK.
An example is shown on the
right - in this case we are
assigning a rotary control to
be used to adjust the
volume of track 1.
For further information,
including about the various
settings, you should consult
the documentation supplied with your device, the manufacturer's web site, or one of the REAPER forums.
Frequencies Comments
16 to 60 Hz Very Low Bass. These frequencies are felt rather than heard.
60 to 250 Hz Bass. Herein dwell the fundamental notes of the rhythm section. A modest boost here
can help make a sound fuller, but too much gain will make it boomy.
250 to 2000 Hz The Mid Range. Too much gain here makes it sound like you’ve recorded from the
other end of a telephone. If a take sounds muddy, try cutting it here.
2000 to 4000 Hz Upper Mid Range. Often a tricky area. Too much can cause listening fatigue. Lower
this range a tad on the mix while boosting a tad on vocals can help a vocal stand out.
4000 to 6000 Hz Presence Range. This is the key range for clarity and presence of instruments and
vocals. Some gain here will bring the instrument or voice forward in the mix. A drop
here can pull a vocal or an instrument back.
6000 to 16000 Hz High Range. This is where you find clarity and sparkle. Too much gain here produces
a searing, glassy effect. Not enough will sound dull ands “heavy”.
So ... we know that the frequency is measured in Hz (and kHz), and that we can increase or decrease the
volume at any level, to shape the sound. The sound level itself is measured in decibels.
We need to understand two more terms – first, band width. ReaEQ measures bandwidth in octaves. A narrow
bandwidth setting means that you will raise or lower the sound over a very small part of the spectrum relative to
your selected frequency. A wide setting means that you will be working on a much wider part of the spectrum.
An example of the difference in how a narrow bandwidth (top) and a wider bandwidth (bottom) can shape a
sound is shown here.
You will also see, if you display the drop down list labelled Type that there are several
type of band. Some of the most commonly used are:
Band: the volume is raised or lowered either side of the frequency, the range being
determined by the bandwidth setting. Sometimes called a “peaking filter.”
Low/High Pass: Filters out frequencies above/below the frequency setting.
Low/High Shelf: Causes the gain to be lowered or raised below/above the frequency
setting.
Pass and Shelf will in most cases only be used (if at all) at very low frequencies or
very high frequencies.
You can add or remove bands using the Add band and Remove band buttons. To
adjust parameter controls of any band you can use the fader controls (frequency, gain
and bandwidth), enter values directly in the edit boxes, or drag the handles on the
graph display itself.
As well as the usual mouse controls, you can use Ctrl mousewheel to fine-adjust
bandwidth and Ctrl Shift drag when adjusting the point for fine adjustment of
bandwidth. Right-click on any of the band handles on the graph for a context menu whose options include:
Adding a new band or deleting a band Flipping all bands
Changing the band type Using large band handles
Reset current or all bands to 0 db Setting analyzer slope to 0 db, 3 db or 5 db per octave
Enable/Disable band (toggle)
The ReaEQ window also has toggle options to log-scale automated frequencies and show phase display.
Tip: Don’t forget that you can create track parameter controls and/or automation envelopes for this or any other
plug-in by clicking on the Param button in the plug-in window – as explained in Chapter 11.
Parameter Description
Delay (ms) Determines the amount of time that passes between the original sound and
when the delayed sound is heard.
Feedback Determines the amount of the delayed signal that will be fed back into the
delay itself. This helps to prevent the delay from just being an echo.
Mix in (dB) Determines the overall output level.
Output wet (dB Determines the Output level of the Post FX signal. Lowering this relative to
the dry output will make the effect more subtle.
Output dry (dB) Determines the Output level of the Pre FX signal
In this example, we will use JS: Delay to add a touch of delay to the Bouzouki.
Example
1. Unsolo your Vox track and solo the track Bouzouki. Open its FX Window and add the JS:Delay/delay.
2. Play the song. Experiment with adjusting the FX parameters until you have found an effect to your liking.
For very small delay settings, such as 0.2 ms, it is easier to type them in the box than to use the faders.
3. Unsolo the track, then continue to make any further adjustments until you are satisfied with the results.
4. Save the file.
Note: The plug-in ReaDelay is a more powerful alternative to JS Delay. This (and the other Rea effects) is
described in the free ReaEffects Guide - http://www.cockos.com/~glazfolk/ReaEffectsGuide.pdf
16.6 Analytical Plug-ins: the Frequency Spectrum Analyzer Meter
Shown on the right is a JS: Frequency Spectrum
Analyzer Meterplug-in.
Insert this into any track 's FX chain (or the
master's FX chain and as the project is played you
are given visual feedback as to the level of output
at different frequencies.
This plug-in is explained in detail in the free
REAPER Cockos Effects Summary Guide.
Three of the Cockos plug-ins – ReaEQ, ReaFir and
ReaXComp - all include an analytical display similar
to that shown here as part of their standard
interface.
Now that you've had a look some examples of
different types of plug-in. We can go on and
examine some more.
Parameter Description
Threshold Determines the level at which the other limiter settings will be applied. It may seem
paradoxical, but the lower the threshold, the higher will be the perceived overall
volume. As you lower the threshold, more of the song is lifted to the limit specified.
Look Ahead Determines how far ahead the limiter looks – this helps smooth out sudden peaks.
Attack Determines how quickly the limiter kicks in as the signal increases.
Release Determines how quickly the limiter recovers after a peak is encountered.
Limit This determines the maximum volume that cannot be exceeded.
Example
1. Display the FX Window for your MASTER and insert the JS: Master Limiter.
2. Play the song, adjusting the controls.
3. As you lower the Threshold, the volume will get louder, but the maximum (limit) volume is never
exceeded.
4. As you lower the Limit, the song gets quieter.
5. The more you lower both Threshold and Limit, the more you squeeze the dynamics out of the song –
volume remains almost constant, and there is little or no movement in the VU.
The trick to using a limiter well is to smooth out peaks and dips somewhat, but without adversely affecting the
dynamics of the song. And, especially at first, be gentle!
Notice that on the original waveform the volume varies quite considerably from time to time. Applying a limiter
(near right) can lift the quieter passages, but may make the overall effect too loud. The dynamics have been
largely squeezed out of the song. The illustration far right shows the same waveform after carefully using a
compressor instead of a limiter. The track no longer clips, and more of the dynamics of the recording have been
preserved.
Software compressors vary from the
simple to the complex. We’re going to
concentrate here on just five main
essential terms. There are other
factors, but let’s just focus on these
five for now.
Threshold - This is the volume
at which the compressor will kick
in. For example, if you set your
threshold at, say, -10dB, then
nothing below that threshold will
be compressed.
Ratio – This determines how
gently or severely the
compression is required. For
example, a relatively gentle ratio
like 2 to 1 would ensure that for
every 2 decibels the volume of
the recording goes above the
threshold, the sound will be
increased by only 1 decibel. A
much more severe ratio of 12 to 1 would mean that for every 12 decibels the recording goes over the
threshold, the sound will increase by only one decibel.
Gain – This is how the volume of the track is adjusted after compression. Often you will want to raise the
overall sound at least a little, to prevent the overall volume of the track from now being too quiet. The
gain control in ReaComp (above) is labelled Wet.
Limit Output – Selecting this option will prevent the compressor output from exceeding 0 dB.
Bypass – this is the small tick box in the top right corner, next to the UI button. You can use this to
toggle bypass on and off, enabling you to assess what this plug-in is doing. When this is ticked (as here)
the plug-in is active. When unticked it is set to bypass. You’ll find one of these in all plug-in windows.
Example
1. Open the file All Through The Night.RPP and save it as All Through The Night COMP.RPP
2. Solo the Bouzouki track. Look at its media peaks. You can see that it starts at a steady volume, but over
the last 30 seconds or so of the song it gets rather loud.
3. Play the track from the 55 second mark for about 15 secs then stop it. Try applying some compression to
kick in at about –12 or –13 dB.
4. Display the FX Window for this track.
5. Insert the VST: ReaComp (Cockos).
6. Create a loop to play over the last 20 secs or so of this instrument.
7. As you do so, experiment with setting the Threshold (vertical fader on the left) and the Ratio. Select the
option to Limit Output. You’ll probably end up with a setting of something like -16 on the Threshold and a
ratio around 4:1 or 5:1 (see picture).
8. Now save this file.
Note also the three options auto release, classic attack and weird knee. These essentially help to control
how the compression is shaped. The knee behavior was modified in REAPER v5.964: the weird knee option
reflects what used to be the default behavior.
ReaFir can be used to remove such sounds from your tracks in real time. In order to do this, you must first
identify a passage on the track (perhaps a second or two) where you have recorded the unwanted noise by
itself. This is likely to be at the very beginning of the track.
Example and Procedure
In overview, the
procedure is this:
1. Insert ReaFir
in the FX
window of the
track
containing the
recorded items
with the
unwanted
noise.
2. Position the
play cursor at
the start of a
passage
containing just
the unwanted
noise.
3. Set ReaFir to
Subtract
mode.
4. Set Edit Mode
to Precise.
5. Select the
Option to
Automatically build noise profile.
6. Play the track only for the duration of the passage containing the noise, then stop the playback.
7. You should see that ReaFir has built a profile of the unwanted noise. This will be marked with a red line
(see above right).
8. Now uncheck the box labelled Automatically build noise profile.
9. Return the play cursor to the start of the song and play it.
10. You should now find that as the song plays, the noise that you profiled by following steps 1. to 5. has now
been removed from your output..
Note: You might be a little puzzled as to when to use a noise gate and when to use noise reduction software
such as ReaFir. The answer is usually quite simple. Noise reduction is suitable for removing a background noise
that is fairly constant, such as an electrical hum, whereas a noise gate is better at dealing with occasional noise,
such as a vocalist's breathing sounds.
Category Description
Eqs/Boosters/Filters Includes three and four band EQs and semi-parametric and graphic EQ plug-ins, and
a range of filters, boosters and exciters. Search example: eq OR filter OR excite
OR shape OR boost
Compressor/Limiters Includes expanders, drum and percussion compressors and various limiters.
Example: comp OR lim OR expand
Chorus/Delay Various niche chorus/delay FX. Example: chorus OR delay
Guitar FX Make sure option to show filenames JSFX list is enabled to find distortion and other
guitar FX. Example: guit OR flange OR fuzz OR loop OR phase OR trem
OR wah OR distort
Analysers Spectrum analyzers, Goniometers and more. Example: ana OR gon OR meter
Stereo manipulators Enhancers, manipulators, fakers and more. Example: stereo
MIDI There is a very wide range of MIDI plug-ins. Search for MIDI together with any
other term or terms – e.g. midi AND velocity
See also MIDI plug-ins section of this guide.
Channel split/join This topic is covered in the section Channel Routing Plug-ins.
Dedicated process: this puts each bridged plugin into a separate bridge process of its own. This will prevent a
buggy plug-in from crashing the entire bridge, but it has the downside of increasing the overall CPU load.
Native only: the plug-ins are run inside the main Reaper process.
Bridging can serve another useful function. Even though it is primarily intended for use with 32 bit plug-ins, you
can if you wish also bridge (most likely in a dedicated process) any 64-bit plug-in. This has the effect of
firewalling REAPER against any adverse effects that could potentially arise from a buggy 64-bit plug-in.
A further choice, Embed bridge UI, determines whether the bridged plug-in GUI is displayed in the FX Chain
wrapper window (or as a floating window) or is displayed in a completely separate (Windows / OSX) window.
The choice is provided as some bridged plug-ins behave better in one context than in the other.
The Plug-ins, Compatibility page of your Preferences includes the option to Terminate REAPER
immediately if a plug-in corrupts the process heap. If this is enabled, REAPER will automatically crash if it
encounters a buggy or malicious plug-in.
Remember! You should not store 32 bit plug-ins in the same directory as 64-bit plug-ins.
6. Click on the routing button for the Vox track. Change the number of track channels to 4.
7 Drag and drop from the Vox track’s routing button to the
Gtr Body track. A control window will be opened, as
shown here.
8. Change the Send type to Pre-fader (Post FX) and the
source channels to 3/4 (as shown). At any time, the Gtr
Body’s routing window can be opened as required to
adjust both the volume and panning of the reverb send.
9. Repeat steps 7 and 8 to create a similar send from the Vox track to the Gtr Neck track.
10. Play the song. If the reverb is too overpowering, open in turn the routing windows of both guitar tracks (by
clicking on their respective routing buttons and lowering the send volume level to about -10 dB. You can
also try panning the send to the Gtr Body further to the left and that for the Gtr Neck further to the right.
11. If you need to adjust the parameters of ReaVerbate, you can do so by opening its FX window from the Vox
media item’s FX chain.
12. Save the file.
17.4 Sidechaining and Audio Ducking
The next example will show you how to use a technique known as sidechaining to create an effect called
ducking. Put simply, this describes what happens when a compressor is set up to ensure that the volume on
one track is automatically lowered whenever the volume on another track is raised.
You might want to do this, for example, when
working with a kick and a bass. In this example, we’ll
use the Bouzouki, Guitar and Vocal tracks in our
sample project to show you how it’s done. We will use
audio ducking to ensure that the overall volume of the
instruments is automatically lowered a little whenever
there is a signal on the Vocal track. This helps lift the
vocal track slightly above the mix. In order to do this,
we use multi channel routing in conjunction with the
ReaComp compressor.
This diagram (right) illustrates the concept of how we
use sidechaining to achieve our ducking effect. Let’s
take it step by step.
Example
1. Open the project All Through The Night.RPP
and save it as All Through The Night
DUCK.RPP.
2. If there are any tracks other than Gtr Body,
Gtr Neck, Vox and Bouzouki, delete them, so
that you are left with just these four tracks. If necessary, change track order so that Vox is Track 1, Gtr
Body Track 2, Gtr Neck Track 3 and Bouzouki Track 4.Adjust the volume and pan faders of these tracks to
get a reasonable mix.
3. In the TCP, select the Vox track and press Ctrl T to insert a new track after this. Name this new track
Instrument Submix.
4. Click on this track’s Folder icon to make this track a folder. Use the Bouzouki track’s folder icon to make it
the last track in the folder.
5. We need to add two more channels to the Instrument Submix so that it can receive a sidechain signal
from the Vox. Right click over the Volume fader for this track, then set the number of channels to four (as
shown above right).
6. Next, display the FX window for the Instrument Submix Track. Add the Cockos plug-in VST: ReaComp
(Cockos).
7. Now for the clever bit. We could add channels 3 and 4 to the Instrument Submix manually, as in the last
example. We could also manually route an audio signal from the Vox track to the Instrument Submix, but
REAPER provides us with a handy shortcut.
8. Drag ands drop from the Vox track routing
button to inside the ReaComp window. The
routing control window that is now
automatically opened shows that instead all
the work has been done for you!
9. This plug-in includes a setting called Detector
input. This is where we tell REAPER that we
want the Vox level, not the Bouzouki level to
control when the compressor kicks in. This
Detector input offers two main choices –
Main Input and Auxiliary Input.
10. Display the Detector Input drop down list and select
Auxiliary Input L + R (right). This ensures that the
compression will be applied to the instrument mix in response
to changes in the volume (strength) of the incoming signal on
channels 3/4 from the vox track. When the volume of the vox
exceeds the threshold setting, the instrument mix will be
compressed.
11. Now play the song. Adjust the Threshold (first vertical fader)
downward, so that during Vocal passages the VU meter peaks above the fader level.
12. Slide the Ratio fader right until you are satisfied with the overall amount of reduction on the Instruments.
This will probably be
somewhere between 2:1 and
4:1. Observe the flashing red
bar to the left of the Output
mix VU. This indicates the
amount of reduction being
applied to the submix track.
13. Notice what is happening here:
the volume signal from one
track (the vocal) is triggering
the compressor on the
instruments folder.
14. Save the file.
Shown are possible compressor
settings that might be appropriate in
this case. The trick is not to make the
compression too obvious, but to have
it just squeezing the peaks of
instrument mix down a little to make
room for the vocal.
Note: This same technique can be applied to other REAPER plug-ins that support sidechaining. This includes
ReaGate and several JS plugins, such as Major Tom Compressor and Express Bus Compressor.
effects individually to individual streams, in parallel with each other, then join them up at the end. Let’s take a
simple example, using just chorus and compression.
Preparation
Open the project file All Through the Night. Save it as All Through the Night PARALLEL.
Select Track 1, press Ctrl T to create a new track 2. Name this Instruments Folder and make this track into a
folder. Make the Bouzouki the last track in the folder.
Pan Gtr Body about 30% left and Gtr Neck about 60% left. Pan Bouzouki about 50% right. For convenience,
mute the Vox track for now.
Example
1. Into the Instruments Folder insert first an instance of JS: Chorus (Stereo) and after that an instance of
JS: Versatile Digital Compressor.
2. Select the Chorus plug-in. Leave the parameters at their default
settings for now. You can experiment with them later if you wish.
3. Click on the 2 in 2 out button to display the Plug-in pin
connector. Click on the + sign to add channels 3 and 4 to this
grid. Use your mouse to redirect output to only channels 3 and 4,
as shown here.
4. Click on the JS: Versatile Digital Compressor. If you check the
pin connections for this track you will see both inputs and outputs
are set to channels 1/2. This is exactly what we want here.
Set the threshold to about – 13 dB and the ratio to about 3:1. Play
the song. You should notice that the compressor is functioning, but
the chorus effect is not heard. We need to bring channels 3 and 4 back into the audio stream!.
5. Add the JS: 8x Mono to 1X
Stereo Mixer at the end of your
FX chain, as shown here.
In this example, the faders for
channels 5 to 8 are faded down:
these channels are not being used.
As well as separate volume controls
for each channel, there are pan
controls which enable you to pan
each channel independently.
6. Play the file. Unmute the vocal.
Experiment with your FX and mixer
settings to your heart’s content!
Tip: This same technique can be used
to apply parallel compression (also
known as New York Compression). This
can be useful when mixing drums and
other percussion instruments.
Tip: When you copy an FX or FX chain (including by drag and drop) from one track to another, the channel
count and FX pin settings are included, and copied with the FX. Similarly, when FX are dragged and dropped to a
media item, the channel count will be increased as necessary.
The flow chart (below, left) illustrates how the audio stream flows in this example. The audio is passed through
the Compressor plug-in on channels 1 and 2 at the same time as it is passed separately through the Chorus on
channels 3 and 4. These are then mixed back together into a single stream using the Channel Mixer.
Any track’s FX signal flow can also be displayed in Track Wiring View: an example is shown below right: within
the track wiring diagram clicking on any FX in a chain will cause its signal routing to be displayed.
3. You will be asked to confirm whether you want the appropriate number of tracks built for the particular
instrument that you have chosen (see right). Click on Yes.
4. REAPER will now insert the instrument into the FX
chain for the original track, name it. arm it for
recording, and create all the additional tracks.
5. You now have a single MIDI input track for the VSTi
together with four output audio tracks. Notice:
Channels 1/2 from Track 1 are directed to Track
2, Channels 3/4 to Track 3, Channels 5/6 to
Track 4 and Channels 7/8 to Track 5.
No direct output goes from Track 1 to the
Master.
3. You're now ready to load your instruments (in this
example, a drum kit) and to start playing.
Note: Instead of steps 1 and 2, you can drag and drop
the VSTi from an open FX browser window direct to the empty area of the track control panel.
Example 2: Separate MIDI Tracks
If you want a separate MIDI track for each VSTi output channel, you
should use this method. Again, we'll use Grizzly, but you would use
the same method for any other multi-output synth.
1. Create and name a new track. Open the track’s FX window and
add the VSTi to the track’s FX chain.
2. From the FX window Options menu choose Build 16
channels of MIDI routing to this track.
3. You now have one MIDI track for each channel. The MIDI
output of each of the 16 tracks is sent to the track on which
you originally inserted the VSTi.
You have a number of options for assisting you with managing this
set of tracks. For example, you can put the MIDI Tracks in one
folder, name the folder, color the tracks and hide them in the Mixer.
To enable keyboard input for the individual MIDI tracks:
Make sure that the VSTi track is not armed for recording.
Select all 16 MIDI tracks.
Right-click the Record Arm button and turn Input Monitoring button on for all 16 tracks.
For each track, set the MIDI input channel, from 1 to 16.
3. Notice that each instance of ReaSamplOmatic5000 is set up differently. From top to bottom, these are
Kick, Snare, Perc 1, Perc 2, Perc 3, Perc 4, HH Cl, HH Op . Near the bottom left corner you can select a MIDI
channel for each sample. The default is 0, which means all channels. Shown here is the Snare, which has
been set to channel 1. In this example, an audio sample has also been inserted. That's the next step!
4. Display the Media Explorer – Ctrl Alt X – and select a folder where your samples are stored.
5. In the ReaDrums FX window select the item Kick. From REAPER's media explorer window you can drag with
your mouse the required sample file and drop it into the ReaSamp window, in the black area above the
Browse button. Alternatively, you can either use the plug-in's Browse button to make your selection, or
select any existing item in Arrange view and click on Import item from arrange. Another option is to click
on the [list] button to open a window to build up a list of samples. This can be sorted by file name, or by
peak or RMS values.
6. Now repeat this process in the other seven ReaSamp instances, one at a time, for each of the other seven
instruments, each time inserting a different appropriate sample. If you wish, rename any of the ReaSampl-
Omatic5000 instances to reflect the sample name.
7. Notice that each instance of ReaSamplOmatic5000 uses different Note start and Note end settings. This
makes allows the notes (and any other events) for the different instruments to share a single MIDI item.
8. Make sure the ReaDrums track is not record armed. Save the file.
9. Along the timeline select the first 10 seconds or so. With your ReaDrums track selected, choose the Insert,
New MIDI Item command to insert a MIDI item.
10. Double click on this item to open the MIDI Editor. From the menu choose View, Piano Roll Notes,
Triangle and View, Mode, Named notes. If necessary, scroll up or down to display your samples. F or
each sample, its row number will correspond to its ReaSamplOmatic5000 note start/end setting. For
example, in this case the snare (shown below) will be row 37.
11. Compose a few
notes, similar to
the concept
shown below.
Don't copy this
pattern, make a
simple
composition of
your own.
11. Close the MIDI
Editor and save
your file.
12. If you wish, you
can also use
REAPER’s
channel routing
to send different
parts to different
tracks, where
you can add FX,
adjust panning,
volume, etc.
Let’s suppose we
wish to apply
some FX to the
kick and the
snare
individually.
Right click over
the Volume
fader for the ReaDrums track and set the number of channels to four. We’ll start with just one or two.
Shown here is a simple arrangement for the snare track, with two instances of ReaSampllOmatic5000, each
containing a separate and subtly different snare sample.
For both instances round-robin and Remove played notes from FX chain MIDI stream have been
enabled. For Snare 1
probability is set to 50%,
for Snare2 100%. This
ensures that during
playback each of the two
instances (and therefore
two samples) will be used
alternately, in rotation. If
in this example you had
three samples rather
than two, probabilities
would be set at 33% (1
in 3), 50% (1 in 2) and
100% (1 in 1)
respectively. Four four
samples, these settings
would be 25% (1 in 4),
33% (1 in 3), 50% (1 in
2) and 100% (1 in 1),
and so on.
More complex variations
are possible. For
example, a JS:
MIDI/midi_choke plug-in
is available which can be
used in conjunction with
ReaSamplOmatic5000 to
help control whether any
sound will be produced
from a given note. An
example showing how this can be used can be seen here: http://forum.cockos.com/showpost.php?
p=1278385&postcount=28
17.12 MIDI Routing: MIDI Channels, Track Sends, and MIDI Buses
Recording Thru MIDI Channels
If you don’t hear any sound coming from REAPER when you play your keyboard then (assuming the
keyboard is switched on and physically connected to your computer or sound card) most likely one (or
more) of these circumstances may apply:
The MIDI Keyboard has not been installed for REAPER. See the section Setting Up For MIDI.
Channel mismatch: the channel being used by your keyboard for MIDI output does not match the
channel selected on the REAPER track for MIDI input.
The REAPER track has not been record armed.
Input monitoring is not been enabled
Almost all but some of the very cheapest MIDI keyboards let you select which channel is used for MIDI
output. Many use channel 1 by default. You will need to check your keyboard’s documentation to find out
how to select a MIDI channel of your choice (from 1 to
16) for MIDI output.
To select a MIDI channel for REAPER input, first right-
click on the track control panel over the area shown
(right). You should then choose (from the menu)
Input MIDI, then the device (in the example shown
this is Pro40 MIDI), then select the channel of your choice,
or all channels.
Input monitoring can be enabled from the same menu.
Record arm is enabled by clicking on the red button to the
left of the track name.
Within some instrument plug-ins (e.g. Kontakt,
SampleTank) you can select which of the 16 MIDI channels
will drive each loaded instrument: you will need to check
out the plug-in’s user manual.
The same applies for some effects plug-ins (e.g. those from
MeldaProduction, where MIDI can be used to automate the
plug-in parameters).
See also the section Recording MIDI from Keyboard
Check List.
Routing with MIDI Channels
The section REAPER Routing Essentials introduces track
sends in REAPER. You might wish to review this now.
The same principles apply whether you are routing audio or
MIDI data from one track to another. You can send data from
any channel (or all channels) on one track to any channel (or all channels) on another track.
In the example shown (below right), drag and drop routing (from the send track’s routing button to the receiving
track on the track control panel) has been used to send MIDI data from track 4 channel 3 to track 5 channel 1.
Note that the audio send is set to None.
MIDI Busses
VSTi plug-ins can receive MIDI on any of the 16 MIDI
channels. However, you cannot set a plug-in to receive
(“listen to”) MIDI on a specific channel. One way of getting
around this is to use MIDI buses. You can input the MIDI
from a keyboard to a specific channel on a track, and then
send it from there to a MIDI bus on a track with a VSTi and input the data into that VSTi by selecting the MIDI
bus for input. You can map the MIDI to a particular channel too, or leave the channel unchanged and then set
the plug-in to receive MIDI on that selected Bus.
Thus, the use of MIDI Buses opens up extra routing options. MIDI data can be sent and received by way of
any channel on any of 16 MIDI buses, numbered MIDI Bus 1 to MIDI Bus 16: MIDI data from this bus can be
directly input into an instrument plug-in on another track. Some points to note are:
MIDI Bus 1 is used by REAPER’s MIDI Control Path for MIDI channel sends and by default for VSTi input.
MIDI control plugins like ReaControlMIDI
and MIDItoReaControlPath can input MIDI
data from, and output data to, a MIDI bus.
VSTi instrument plug-ins can receive MIDI
data from a MIDI bus but output audio.
Any number of track/channel combinations
can output data to a MIDI bus.
Data from a MIDI bus can be sent to
different VSTis on the same track, or
indirectly to VSTis on other tracks.
Above right is shown a relatively simple
example. Here we have four tracks which
contain MIDI data and a Synth track which contains two VSTi
plugins.
We can create sends from any data track to, say, Bus 2 on
track 5 by selecting from the sends dialog the output
destination Bus 2 and any channel. In this example, we are
sending from track 1 channel 4 to Bus 2 channel 4 (2/4).
Now suppose that we have also created sends from track 2
to bus 2 and from both tracks
3 and 4 to Bus 3. In the latter
case, both sends have gone
to the same channel, channel
1 (i.e. 3/1). We can now open
the FX chain for track 5 and
select the first synth.
Clicking on the “2 out”
button, then I/O, then MIDI
Input enables us to select
MIDI Bus 2, as shown. We
can now send the MIDI from
Bus 3 to the other synth on
this track. Just repeat this
process with this synth,
selecting MIDI Bus 3 as the MIDI input instead of MIDI Bus 2.
Surround sound production is a complex topic. It would be beyond the scope of this User Guide to attempt to
cover the principles, theory and practical issues that it involves. Whole books have been written on the subject:
you can also consult various web resources, such as “The Recording Academy's Producers and Engineers Wing
Recommendations for Surround Sound Production” (available as free PDF download).
REAPER's surround sound production capabilities can be found in three main areas:
1. The ability to record in multichannel format. The method for doing this is explained in Chapter 3.
2. REAPER's channel routing capabilities.
3. The ReaSurround surround panner.
REAPER-specific issues that you need to be aware of for surround sound production are:
Configurations
REAPER supports several surround sound configurations, including 5.1, 7.1 and 9.1,
Specify your number of input channels and select your required configuration from the
drop down list (shown here).
Recording
Record each track using the settings most suitable for that track. For example, for a lead
vocal you might use a two channel track with a single mono input (one mic). For a piano,
you might record in stereo with two mics. For ambient sounds you might prefer a four
channel track with four mic inputs.
Routing
REAPER offers you various routing options. For example, you can insert ReaSurround into each track individually,
with each track directly routed to the Master. Another option is to create sends from all tracks to a single
Surround Mixing Bus and use a single instance of ReaSurround there, disabling direct sends from individual
tracks to the Master. Arguably, the former method gives
you greater flexibility and more control.
You will also need to set up the necessary routing for your
Master outputs to ensure the correct signal flow from your
Master to your surround speakers. A possible example of
this for 5.1 surround sound is shown here (right).
ReaSurround
ReaSurround, like any other plug-in, can be inserted into a
track's FX chain from the FX Browser. Here we are
assuming that you are opting for the method of inserting
ReaSurround into every track. Note that:
You should place ReaSurround in the track's FX chain.
Often you will want this to be at the end of the chain.
However, this might not be the case if, for example,
you are using a multi-channel delay effect, which most
likely you will want to be after ReaSurround.
After inserting ReaSurround, select one of the options
from the setup drop down list (above left). Select the
same option for all tracks. Input levels and positions
can be set and locked.
When you select a setup, the correct number of output
channels are automatically added to the track. In the
example here, 5.1 surround is selected, so the track is
allocated six channels.
In the example shown below (next page), a track with
two channels and a mono media item (Vox Mix)
displays two channel inputs, each with its own
fader(which can be set to Gain or LFE) as well as solo
and mute controls. Double-click on any input to
rename it.
Because 5.1 surround has been selected, there are six channel outputs. Notice that these can be soloed
and/or muted in any combination. Each also has its
own fader: these can be set to Gain or Influence.
Use the pin connectors on
other track FX to direct the
outputs of those FX to the
various channels, as
required. Refer back thru
this chapter for numerous
examples of selecting FX
pin connectors.
You should also insert ReaSurround at the end of the Master FX chain.
Channel inputs can be positioned by clicking and dragging them across the display.
See also tips below). In addition, there are two further sets of controls in the
ReaSurround window.
The three Edit drop down lists and their accompanying rotaries can be used as
controls with any three of the available items shown (left). These vary according to
the selected format. For example, for 5.1 they are:
In a ReWire session, the first application acts as the host, and the second application acts as the slave. The slave
receives and sends signals via the host application. REAPER can be used as either host or slave.
The ReWire system uses mixers, panels, and devices. Mixers are the host applications which typically do the
sequencing at one end and the final mixdown at the other end. A device is a dynamic link library that only
generates sound but has no user interface of its own. A panel is a graphical interface for setting the parameters
of one device. For example, you might use REAPER as your mixer and Propellerhead Reason as your synthesizer.
In this case Reason would provide device and panel to REAPER, which could then send midi commands, sync
timing and mix Reason's output into its own effects chains.
ReWire can be used with any track(s) in a
REAPER project. Display the track's FX
chain and select ReWire from the list of
plug-in categories (left column). This will
display (in the right column) a list of all
ReWire enabled applications that have
been installed on your computer. Select
the application (“slave”) that you wish to
use – for example, this might be ReWire
Ableton Live, Rewire Reason or (as shown
here) ReWire FLStudio.
Selecting your ReWire enabled application
will cause the application to be opened.
You can use ReWire to send MIDI data to
the slave application (as shown here), to
route audio from the slave application into
REAPER, or to route MIDI data from the
slave application into REAPER.
By default, the tempo for both applications
is set by the ReWire host. However, there
is an option in REAPER's ReWire window
to allow the slave application to set the
tempo.
Note: REAPER can be opened in slave mode from the Windows Start, All Programs menu, or by first opening the
host application and by selecting REAPER as the slave application there. You can also (in both OSX and
Windows) ReWire REAPER to itself by choosing Rewire REAPER from the Add FX window. For more information
about using ReWire with REAPER see: wiki.cockos.com/wiki/index.php/ReWire
Manually Creating Envelopes: As an alternative to using your faders to create envelopes, you can shape
them manually. This gives you a very fine degree of control over your project. You can draw your envelope
curves freehand, add points to them at will, and use your mouse to manually move these points up or down.
Envelopes created in this way will behave in exactly the same way as if actual fader movements had been
recorded. Trim/Read mode is used when you are creating or editing envelopes in this way. If you wish, you
can write envelopes in, say, latch mode then edit them in Trim/Read mode.
The active mode is displayed on a track's envelope button. We'll explore the different automation modes shortly.
You can use different modes on different tracks in your project. All envelopes can be manually edited , or
removed altogether if you wish,
Envelope Description
Volume Adjusts the volume of the Track’s Output, after, for example, any item or track FX
have been applied. This sets the level of the signal that is sent to the Master Track.
Pan Moves the balance pan control more towards the left, right, or dead center: the signal
that is sent post FX from the track to the Master Track.
Width Moves the width control more towards the left, right, or dead center: the signal that is
sent post FX from the track to the Master Track.
Volume (Pre FX) Adjusts the volume of the track signal that is fed to the track’s FX chain. This is
generally equivalent to the Gain control that you can find on some desks and mixers.
Pan (Pre FX) Similar to Pan control but before track FX or track faders are applied.
Width (Pre FX) Similar to Width control but before track FX or track faders are applied.
Trim Volume A rather different type of envelope that can be used to modify the track volume
envelope. This will be considered later in this chapter.
Envelope Description
Mute This envelope has effectively only two states – On and Off. It is used to mute
passages of a track.
Send Volume Adjusts the volume of the track signal that is sent to the destination track. Can be
used for Post Fader (Post Pan), Post FX and Pre FX sends.
Send Pan Adjusts the panning of the track signal that is sent to the destination track. Can be
used for Post Fader (Post Pan), Post FX and Pre FX sends.
Send Mute This envelope has effectively only two states – On and Off. It is used to mute
passages on a send.
4. Now click on the Envelopes/Automation button for the Bouzouki track. Select Volume and make it
both Visible and Armed. Select the automation mode Write for this track (see above).
5. Close the Envelopes window. Notice that the Volume fader for this track is now colored red and a Volume
envelope has been created. The Envelope button now reads Write.
6. Play the song from about the 48 sec mark for about 15 sec. At the instrumental break, use your mouse to
raise the track fader for the Bouzouki volume (not the envelope volume fader) by about a three decibels.
Hold it there, then at the end of the instrumental break lower the fader to its original position. Stop play.
7. Right click over the Envelope button for the Bouzouki track and choose Automation Mode: Read from
the context menu. Zoom closely into the part of the song that goes from about 45 secs to about 65 secs.
8. The the volume control is lane now green, with the automation envelope clearly visible (see below).
9. Play the song. The volume faders for this track (in both arrange and mixer views) will automatically move
to show changes in
volume to reflect the
movements that you
recorded. Save this file.
Note: You do not need to
select Automation Read mode
in order for the automation to
take effect. Trim/Read mode,
for example, will also do this, but without moving the faders. In the above case, this would allows you to tweak
the track's volume during playback by manually adjusting its volume fader. You’ll find a more detailed
explanation of the various automation modes later in this chapter.
It’s likely that you won’t get the exact settings for your automated faders 100% correct first time. To fix this,
either use Automation Touch mode to write changes to your envelope, or edit the envelope by hand.
REAPER is creating more points than you want when, for example, you write automation data, using either your
mouse or a control surface.
To reduce the number of points on an existing envelope that has already been recorded:
1. Select (click on) the envelope.
2. Define the required time selection. All envelope
points in that selection will be selected. You might
want to zoom in.
3. Right-click over the envelope. From the menu,
choose Reduce Number of Points.
4. Select (probably) Points in time selection or
(possibly) All Points.
5. Adjust the fader until the number of points shown
looks about right. An example is shown above. Click on OK.
When you are in Latch, Touch or Write mode, an envelope can also be armed by clicking on the Arm Record
button in its automation lane (where one exists). Remember also after using Write, Latch or Touch mode to
change to Read or Trim/Read mode, to prevent further automation from being accidentally recorded.
A number of actions are available in the Actions List for smart editing existing envelopes after first setting the
envelope(s) to latch, touch or write mode. These allow you to copy the value of an envelope (or envelopes) at
the current cursor point all the way to the start of a project or all the way to the end of a project, or to a time
selection. To see a full list of these actions, enter auto write into the Actions List filter box. Some of these will
be examined in the next section, Latch Preview Mode. Here is an example.
As shown (right), this
track has a volume
envelope, currently in
trim/read mode. Note the
cursor position. Suppose
we want to set the last
part to this same volume level.
In the second picture, we have selected write mode and
defined as a time selection the part of the envelope that
we wish to change.
Finally, from the actions list we run the action
Automation: Write current values for all writing envelopes to time selection. The envelope in this
section is now set to the desired level.
Example
3. We now display the actions list (Actions, Show action list) and run the action Automation: Write
current values for actively-writing envelopes to time selection. The envelope is now adjusted (see
below).
Finally we can reset the track automation to trim/read mode.
You might want to work using latch
preview mode on more than one
envelope on a track, or indeed on more
than one track. You might want to use
“write to” options other than to time
selection. Keeping this in mind, here is a
summary of the main actions available.
Remember that these can be assigned to
keyboard shortcuts, toolbars, and/or menus (see Chapter 15).
Set/Write/Clear Automation Mode Actions (see Actions List for full list)
Set automation mode actions:
Automation: Set track automation mode to … [latch or latch preview or read or touch or trim/read or write]
Automation: Set all tracks automation mode to … [latch or latch preview or read or touch or trim/read or write)
Global automation override: All automation in… … [latch or latch preview or read or touch or trim/read or
write] mode
Automation write actions:
Automation: write current values for actively-writing envelopes to [entire project or time selection]
Automation: write current values for actively-writing envelopes from cursor to [entire project or first touch
position or start of project]
Automation: write current values for all writing envelopes [from cursor to end project or from cursor to start
of project or to time selection]
Latch clear actions:
Automation: Clear [track or all track] envelope latches
These options together should provide you with all you need for your latch automation preview requirements.
For a greater in-depth understanding of this and other advanced automation features, go to
http://wiki.cockos.com/wiki/index.php/AdvancedAutomation
4. Now hover the mouse anywhere between the second and third
point. Click and hold down the mouse, then drag upwards to
raise the volume of this envelope a little, as shown in the
second illustration. Save this file.
5. Display the track's Envelope Window and make sure that
automation mode for this track is set to Read and that the
Volume envelope is selected and set to Visible and Arm.
6. Play the song. The Bouzouki volume will now be faded up for
both instrumental passages and then down after them.
7. Select the Vox track and press V to
display its Volume envelope. Zoom to
the passage from about 1 min 0 sec to
1 min 19 secs. We can make this
passage a little louder.
8. Hover the mouse just above the
envelope at 1:00. Hold down the Ctrl
key. The mouse cursor will change to
a pencil. Still holding Ctrl drag the
mouse along to about the 1:19 mark (see above right) then release the mouse. This will draw changes to
the volume envelope.
9. Remember that any excessive points that have been inserted by this action can be removed (as in the
earlier exercise) using the Reduce number of points command. Save the file.
Note: Amplitude vs Fader Scaling
Right-click over a volume envelope for a context menu which includes Volume envelope scaling (under the
Envelope defaults option). Available options are amplitude scaling (the default) and fader scaling, each of
which will produce different results. With amplitude scaling, half as high, for example, is half as loud, whereas
with fader scaling the envelope height corresponds to the track fader. Fader scaling can make editing the
envelope at low levels of volume easier. Changing your preference on an envelope after points have been added
will affect the sound level produced by that envelope.
You can change the default setting from amplitude scaling to volume fader scaling on the Options,
Preferences, Project, Track/Send Defaults page. You should also familiarise yourself with the various
options under Preferences, Editing Behavior, Envelope Display (see Chapter 22)
18.14 Using the Mouse with Envelopes
The above exercise has introduced you to some examples, but there are many other techniques and mouse
tricks that can be used for manipulating and managing envelopes and their nodes. This table is a summary of the
most important. For a fully comprehensive list, consult the Mouse Modifiers page of your Preferences.
Most of these defaults can be changed in your Editing Behavior, Mouse Modifiers preferences settings.
18.15 Envelope Edit Mouse Modifiers
After working with envelopes for a while you might wish
to consider changing some of the default mouse modifier
settings to suit your personal workflow. There are several
contexts relevant here – Envelope lane (left drag and
double-click), Envelope segment (left drag and double-
click), and Envelope point (left drag and double-click).
Some examples of default behaviors are listed below: for all of your options see the Options, Preferences,
Mouse Modifiers window.
Any of these default behaviors can be changed in the Preferences, Mouse Modifiers window.
For example, if you manually add points to envelopes a lot, you might wish to consider changing the default
behavior for Envelope double-click from Reset point to default value to the action Envelope: Insert new point at
current position. If horizontal adjustment of envelope points is important, consider assigning Move envelope
point horizontally as one of your envelope point modifier instead of just Move envelope point.
Also, by default, double-clicking on an envelope's control panel will select all points on the envelope.
Command Explanation
Envelope defaults, Default Sets default shape for new envelopes. The available shapes are Linear,
point shape Smooth, Fast Start, Fast End, Square and Bezier. These are explained in
more detail shortly.
Set point value … (P) Displays the Set Envelope Point Value dialog box. Can be used to change
the value, position, and/or shape of the current point.
Optionally, you can assign Double Click (under Preferences, Mouse
Modifiers, Envelope Point) to Open envelope point editor.
Set point shape (P) Changes the shape of the current point. The six available shapes are Linear,
Square, Smooth, Fast Start, Fast End and Bezier. These are explained in
more detail shortly.
Set shape for selected Allows you to choose a shape for multiple envelope points. The six available
points shapes are Linear, Square, Smooth, Fast Start, Fast End and Bezier.
elect all points Selects all points in current envelope.
Command Explanation
Select all points in time If a time selection is currently active, all points on this envelope that fall
selection within the time selection will be selected.
Delete points in time All points that fall within the current time selection will be deleted. Shown
selection here is a selection of points before and after using this command.
Invert selected points Causes all selected points to be inverted relative to their neutral position.
For example, a point on a Pan envelope set at 50% left would be changed
to 50% right.
When items such as Volume use a logarithmic scale, the calculation is less
obvious.
Reset select points to Sets all selected points back to a neutral position. Shown here is a selection
zero/center of points before and after using this command.
Reduce number of points … Reduces the number of envelope points within a time selection or for the
whole envelope. This has already been explained in detail.
Arm envelope for recording Toggles armed status of envelope on and off.
Show envelope in lane Toggles the envelope into or out from its own envelope lane.
Hide envelope Hides the envelope but keeps it active.
Bypass envelope Toggles an envelope’s bypass status.
Clear or remove Clears all points on an envelope, restores it to a straight horizontal line. You
envelope ... will be asked if you wish also to remove the envelope.
Shapes other than Square are usually best used for graduated parameters, such as volume and pan. Square
envelopes are best used for items with on/off parameters (such as bypass or mute), to ensure an exact
transition at the required point.
You can specify your preferred default envelope point shape type from the Options, Preferences, Project,
Track/Send Defaults window, as shown on the right.
You can also specify options for Add edge points (at the start and end of the time selection) when moving
envelope points with items, ripple editing or inserting time, and/or moving multiple envelope points.
In the example shown (right), not only is the envelope copied with the media
item, but also the option to show guidelines has been selected.
18.25 Copying Points From One Envelope to Another
To copy a single point from one envelope to another (or to another location
on the same envelope you need simply to:
Select the point and press Ctrl C.
Select the required position along the timeline in the destination envelope
and press Ctrl V.
For more sophisticated tasks such as copying a range of points from one
envelope to another you will need to use the Actions List (Chapter 15). This
example uses the action Envelope - Copy points within time selection.
You can assign a keyboard shortcut to this action if you wish.
To copy a range of points from one envelope to the other, or to a different position on the same envelope:
Make the time selection containing the points and select the envelope. Run the action Envelope - Copy
points within time selection.
Select the required position along the timeline in the destination envelope and press Ctrl V.
Right click over background area of any existing envelope lane in the TCP and select the required item from
the FX parameters menu. All automatable parameters for all plug-ins in the track’s FX chain will be listed on
the menu (see above).
The third method is to create the parameter envelope from within the plug-ins own window This is probably
the most useful method because in many cases, this will be the environment in which you are likely to find
yourself working when you decide that you would like to create the envelope. The standard procedure for
doing this is quite simple:
1. Touch the required parameter with your mouse.
2. Click on the Param button then choose Show track envelope from the menu.
Most FX can be automated in this way, but be warned that especially with some older plug-ins this might not be
possible.
Example
1. Open the FX Chain window for the track Vox.
2. Add ReaEQ to this chain. Click on the Gain control for Band
2.
3. Click on the Param button, then on Show track envelope
(see right). This adds to the track an envelope for this
parameter.
4. You can now adjust this envelope to add more warmth to the vocal, using your preferred automation mode
(such as write or latch), or, if you prefer, by manual editing in trim/read mode.
5. You may need to add a volume envelope to this to lower its overall volume level to compensate.
Tip 1: To automatically create an envelope for any FX parameter adjusted on the fly during playback, enable the
Preferences, Editing behavior, Automation option Automatically add envelopes when tweaking
parameters in automation write modes, then set track automation mode to touch, latch or write.
Tip 2: To add a parameter adjust/control button for any FX parameter to the track's control panel simply select
the UI box in the track's envelopes window. This allows you to create or modify envelopes on the fly without
needing to open the FX window.
Tip 3: If you use Ctrl Shift Drag to copy an FX from one track or item to another, then any and all FX
parameter envelopes associated with that FX will be copied with it.
5. When the MIDI/OSC Learn dialog box is shown, tweak the control on the external device, select the
option Arm envelope for selected parameter and click on OK. The envelope will be displayed.
You can now use the control device to write changes to the envelope during project playback (see section 18.5).
In Trim/Read mode you can use the control device to manually adjust the parameter - see Chapter 12.
Create new empty Make time selection, right-click within time selection on envelope, choose
automation item on Automation items, New automation item or Hold Alt while dragging from
envelope left to right just below the envelope.
Create new automation Enable the Preferences option (Editing behavior, Automation) to Always
item when writing create new automation item when writing automation.
automation to envelope
Insert a saved automation Position cursor. Right-click on envelope, choose Automation items, Load,
item on to an envelope then Load... Select item name and click on Open.
Add a LFO to an Double-click on the item's title bar (at bottom of item) to open the
automation item, Automation Item Properties dialog box. Select LFO shape (parametric,
and/or change other triangle, saw or square) and adjust other parameters as required (see below).
properties Close dialog when finished.
Convert existing envelope Add points to envelope. Make time selection, right-click on envelope within
into automation item selection, choose Automation items, New automation item.
Convert item to ordinary Right-click on the item's title bar, choose Delete automation item preserve
envelope segment points.
Disable envelope outside Right-click on envelope, enable the toggle option Disable envelope outside
automation items. automation items. Also known as “automation items only mode.”
Edit automation item Add, move, delete points etc. in exactly the same way as with any envelope.
To change LFO and other settings, double-click on item's title bar to open the
Automation Item Properties window.
Name or rename an item Open Automation Item Properties, type the name.
Define custom automation Enter transition time in Automation Item Properties dialog.
item transition time
Move automation item Click and drag left or right on the item's title bar, or up or down to another
envelope, on the same or a different track or item.
Move item contents Hold Alt while dragging item's title bar left or right.
Copy automation item to Ctrl click (to copy unpooled) or Ctrl Alt click (to copy pooled) on title bar,
another location and drag to destination on same or another envelope, on any track, or
Select item, then Alt click drag below envelope at required location.
Unpool automation item Choose Remove from pool from item's right-click context menu.
Use automation items with Insert FX (e.g. compressor or delay) into the FX chain and add a parameter
FX parameters envelope in the normal way. Create and apply items as per usual.
Extend/copy automation Click and drag from just inside the item's title bar right edge to the right, or
item contents from left edge to the left.
Extend automation item, Ctrl click from edge of title bar outwards. As the item is extended, existing
collecting existing points envelope points are collected into it.
Join automation items Ctrl click on title bars of all items to be joined, to
together select them all. Right-click over any title bar in
selection and choose Glue. The items will be
consolidated into a single item, which will also include
any envelope portions between the glued items. Shown
here is an example – before and after.
Loop/unloop an item Enable/disable loop option in Automation Item Properties dialog.
Stretch/shrink item Alt click drag left/right from item title bar edge.
Save automation item Right-click on the item's title bar, choose Save..., select folder, type a name
and click Save.
Delete automation item Right-click on item title bar, choose Delete .
Mute automation item Right-click on the item’s title bar, choose Mute (toggle).
Split at cursor position Right-click on the item's title bar, choose Split.
Duplicate automation item Right-click on the item's title bar, choose Create pooled duplicate. Any edits
as pooled made to any item in the pool will be made to all items in the pool.
Duplicate automation as Right-click on the item's title bar, choose Create unpooled duplicate. Each
unpooled item can be modified independently of any/all other items in the pool.
Use multiple automation By creating multiple automation items and dragging
items simultaneously on them around as required, you can create situations
the same envelope where two or more automation items can be used
simultaneously on the same envelope.
Notes:
To ignore snap with any of the above click-drag actions, hold also Shift while performing the action.
The main difference between pooled and unpooled items lies in how they behave when edited. An
unpooled item is completely independent and can be edited without any other item being affected.
Changes made to any pooled item, however, will be applied to all items in its pool. However ….
When editing pooled items via the Automation Items Properties dialog, changes made to parameters
included in the All pooled copies box will be applied to all items in the pool. There is also an option you
can tick for Baseline/amplitude to affect pooled copies. Other changes made within the Automation
Item Properties box will only be applied to the individual item being edited.
If the option to Move envelope points with media item (Options menu) is enabled, then when a media
item is cut, copied, pasted, moved, duplicated, etc., any automation items attached to it will be moved
with it.. If the portion of the media item includes only part of an automation item, then only that part will
be moved or copied with the automation item.
Where automation items exist within regions, they will be moved and copied with the regions.
A project’s automation items can also be managed from the Automation Items page of the Project
Bay. This shows all the automation items currently used used in the current open project. Here you can
perform many of the functions described in this section, for example rename any item or mute it or adjust
the volume of any instance.
Automation Item (AI) Preferences, Actions, Mouse Modifiers, Options – and the Media Explorer
Preferences
The Editing Behavior, Automation and Editing Behavior, Envelope Display sections of Preferences
(Chapter 22) includes automation item options to manage looping, pooled item behavior, and underlying
envelope behavior. You should make yourself familiar with these preferences.
Actions
The actions list includes various automation item commands and actions, including (but not limited to):
Options: Loop new automation items by default. (toggle)
Options: Always create new automation items when writing automation
Options: Automation item baseline/amplitude edits affect pooled copies
Options: Automation items connect to the underlying envelope on both sides
Options: Automation items connect to the underlying envelope on the right side
Options: Automation items do not connect to the underlying envelope
Options: Chase non-FX envelopes to automation items when underlying envelope bypassed
Options: Reduce envelope data when recording or drawing automation
Options: Remove points from underlying envelope when creating automation items
Options: Trim content behind automation items when editing
Envelope: Add edge points to automation item
Envelope: Convert all project automation to automation items
Envelope: Enable/disable envelope outside of automation items (AIs)
Envelope: Enable/disable envelope outside of AIs for all envelopes on selected track
Envelope: Enable/disable envelope outside of AIs for all envelopes in project
Envelope: Enable/disable envelope outside of AIs for all visible track envelopes
Envelope: Mute automation items
Envelope: Glue automation items
Envelope: Set loop points to automation item
Envelope: Set time selection to automation item
Envelope: Split automation items
Envelope: Toggle automation item loop.
Moreover. all of the commands described in the above table are available as actions in REAPER's Actions Editor
and as such can be assigned to keyboard shortcuts, toolbar icons, and/or custom menus. See Chapter 15. Other
actions for options not on the menu include toggle actions to control underlying envelope behavior.
Mouse Modifiers
REAPER's mouse modifiers include the contexts Automation item (left drag, double-click) and Automation
item edge (left drag). All the mouse actions in the above table are listed there, as well as some further
options. You can change default mouse modifier assignments, rearranging modifier key behavior as you wish.
There is also a mouse modifiers preferences option Edits affect all pooled items at the same position.
Also, the Envelope lane mouse modifier left drag context includes several actions and options for drawing
copies of selected automation items.
Options Menu
In addition. the main Options menu contains four toggle options to determine how automation items interact
with underlying envelopes. These are:
Bypass underling envelope outside of automation items (per project)
Do not attach to the underlying envelope
Attach to the underlying envelope on right side
Attach to the underlying envelope on both sides.
The Media Explorer
Automation Items can be managed from the Media Explorer
like other media items. Simply navigate to the correct
directory to preview. Right click over any item name for a
menu of options for inserting into the project (see right).
Item Description
Audio control signal Enables/disables control of the parameter by the audio signal in the
specified Track audio channel.
Track audio channel This specifies which audio channel(s) – for example, 1/2 or 3/4 –
contain the audio signal that is used to control the specified parameter.
The selection of channels available will depend on how many channels
have been previously defined for the track.
In more straightforward applications, you will want to choose channels
1 + 2. This will ensure that the parameter is controlled by the audio
signal on its own track. However, as you will see soon, you can choose
a source other than channels 1 + 2 if you want an FX parameter on
one track controlled by the audio signal from a different track. The
latter case would be an example of sidechain parameter modulation.
Item Description
Attack and These two factors determines the speed with which changes in the
Release level of the incoming signal will be applied to the parameter. They work
in a similar way to Attack and Release on a compressor.
A higher attack setting will cause the parameter to respond more slowly
to changes in volume in the source audio channel.
A low release speed will cause the modulation to be adjusted rapidly as
the volume then falls. A higher speed will hold the modulation for a
longer period before doing so.
Generally speaking, the higher the attack and the release settings the
more gradual will be the parameter modulation response. The lower
these settings, the more sensitive and immediate will be the response.
Min Volume and These determine the range within which the signal on the track audio
Max Volume channel will be used to modify the FX parameter.
For example, in the illustration shown, the parameter in question
(chorus wet mix) on the track in question (track 4, Bouzouki) will only
be controlled by the audio signal on channels 1 and 2 when its volume
falls within the range - 24 dB to - 0.53 dB. If or when the signal is
quieter than -24 dB or louder than - 0.53 dB the parameter modulation
is in effect set to bypass.
Strength and These determine the nature and the intensity of the relationship
Direction between the incoming audio signal and the parameter being controlled.
For example, set to 100% positive as the incoming audio signal
increases or decreases, then the parameter being controlled will also
increase or decrease to the same degree. At 50%, the relationship will
still be positive, but more moderate. You can think of this as being
conceptually similar to a ratio control on a compressor.
Likewise, a setting of 100% negative means that as the incoming audio
signal increases, the parameter being controlled will decrease in the
same proportion, and vice versa. At 50%, the relationship will still be
negative, but more moderate.
At 0%, the effect will be completely neutral.
Audio Control Shaping Signal This graphical control helps shape the behavior of the parameter that is
Graph being modified.
For example, if the direction is set to positive, then pulling the small red
handle (in the centre of the diagonal line) on the graph fully to the
bottom right corner will result in more modest increases in the value of
the parameter being modified.
On the other hand, pulling the small red handle (in the centre of the
diagonal line) on the graph fully to the top left corner will result in
greater increases in the value of the parameter being modified.
Don't worry, we'll work thru an example soon.
The best way for you to understand how parameter modulation works is to try it out in practise. This first
example will use several of the PM window controls. We will first select a parameter to be modulated, then set its
baseline fader level, and then select the required audio control signal. Finally, we will define the relationship
between the audio control signal and the parameter being modulated.
6. Click on the Param button, then choose Parameter Modulation/MIDI link from the menu. This will
open a parameter modulation window for the output wet parameter. Enable the option Audio control
signal and select as the
Track audio channels 1 +
2. Play the track.
7. The wet rotary on the plug-
in was initially at 100%, as
shown here. However, as
you adjust the baseline
fader (in the PM window)
while the track is playing,
the wet value in the Chorus
window (shown to the
immediate right of the 2 in 2
out button) is also adjusted.
Leave it with a wet mix level of about 50%.
8. Set the various items in the Parameter Modulation window as shown below and play the track. You
should notice the wet mix element of the chorus being faded down for louder notes and passages and up
for quieter notes and passages.
9. Now experiment! You should find that:
Moving the Attack and Release faders left will result in the wet mix chorus fader movements
becoming more jerky. Moving them right should make them smoother.
Moving the Strength fader (negative) to the right will cause the wet mix chorus fader to be faded
down for louder notes and down up quieter ones. Selecting positive reverses this.
Moving the Min Volume fader left will lower the threshold at which the parameter modulation is
applied. Moving it right will raise the threshold.
10. When you have finished experimenting, adjust the settings to those shown here.
11. This instrument becomes louder as the song progresses. Play it, with the Bouzouki unsoloed. By the
end, there is less chorus being applied to the bouzouki.
12. Now play the song again. Drag hold of the handle on the graph, and use your mouse to drag it to the
lower right position. Notice that the movements of the wet mix fader now become more modest.
13. Now drag hold of the handle on the graph, and use your mouse to drag it towards the top left corner of
the graph (as shown below). Notice that the movements of the wet mix rotary now become sharper and
the wet mix level reaches lower values.
14. Restore the graph to its earlier position (shown at step 10) when you have finished. Save the file.
6. Set the Offset fader to 10% and the Scale to +100% (see notes below).
7. Play the song and save the file.
In the examples at 19. 5 and 19. 6 parameter modulation
was used to create quite a dramatic effect. In the
examples at 19. 7 and 19. 9 the effect is more subtle.
The two controls Offset and Scale can be used to control
the extent to which the controlling parameter (in this
example the compressor's threshold) modifies the
controlled parameter (in this case the EQ band gain).
The Offset fader increase (to the right) or decreases (to
the left) by a specified percentage the value of the
parameter being modified
The Scale fader ranges from -100% to +100%. At -100%
the relationship between the controlling parameter
(threshold) and the controlled parameter (EQ band 2 gain)
will be 100% negative: the EQ gain will be lowered exactly
as the threshold is raised. At +100% the relationship will
be 100% positive and the opposite will occur.
If you just want to control the whole range of the target
parameter then just set the Baseline [B] slider to the left (0%), Offset [O] to 0% and Scale [S] to 100%.
To control just part of the target parameter's range, first of all, work out what that part is in % terms. For
example, consider an EQ gain band with a range of -24 dB to +24 dB and you wish to control the value between
-12dB and +12dB. The percentage range is accordingly from 25% to 75%.
Make sure that you can see the target parameter on the FX's GUI and the Parameter Modulation window and set
the Scale [S] value temporarily to 0%. Drag the Baseline [B] slider 25% to the right and you should see the
target parameter change to -12dB. Now set the Scale to 50% (that is 75% - 25%). That's it. There is no need to
adjust the Offset.
In fact, you won't need the Offset often. It can be used to slide the range up or down. Please note that the
actual change is determined by the Offset % multiplied by the Scale %. Let's look at [B] = 50%, [O] = 0% and
[S] = 25%, this results in a range of 50% to 75%. If we now set [O] to -40% the range changes to 40% to 65%
the change is [O] x [S], that is -40% X 25% = -10%).
Here we have added an envelope to control the Band 2 EQ Gain setting of ReaEQ. By clicking the Modulate
button in the envelope lane we are able to open the Parameter Modulation window and take the necessary steps
to ensure that the EQ gain will respond automatically to changes in the strength of the audio signal on this track.
In this example, when the envelope is lowered just after the current position of the play cursor, the baseline
value of the parameter being modulated will also be lowered.
Example
1. Open the file All Through The Night MOD1
and save it as All Through The Night MOD2.
2. Remove or set to bypass the delay plug-in in the
Bouzouki track's FX chain.
3. Insert a new track after the vocal track. Name
this track Instruments and make it into a
folder. Insert the three instrument tracks into
this folder, as shown on the right.
4. Add an instance of ReaComp to the Bouzouki
track. This is needed only because the volume
of this instrument increases quite significantly as
the song progresses. We wish to pull this back a
little.
5. Set a threshold of around –15dB and a ratio of
around 4:1.
6. Select the Instruments folder and display its
routing window. Set the number of track channels to 4 and add a receive from channels 1/2 of the Vox
track to channels 3/4 of the Instruments folder.
7. Open the FX Window for the Instruments folder and add an instance of JS: SStillwell/exciter. This will
be used to brighten up
the instrument a little.
8. Settings similar to those
shown here will
definitely brighten the
instruments, perhaps
more than you would
like. For the sake of this
exercise, however, these
levels should be fine.
9. We are now going to use parameter modulation to ensure that audio signal from the vocal track drives
down the mix level of the exciter. This will have the effect of helping the vocal to just float over the
instruments a little.
10. Click on the Mix % control, then on the Param button and choose Parameter modulation/MIDI link
from the menu.
11. When the PM window is opened, enable parameter modulation and choose Audio control signal
(sidechain). Move the baseline value fader about a third of the way to the right.
12. Select Track audio channels 3/4 and make the direction Negative.
13. Adjust the other parameters so that as the vocal floats above the instruments the Mix % of the Exciter is
smoothly and gently faded down.
14. One possible solution to this exercise is shown below. But don't just dive straight in and copy these
settings. Try to get there by yourself!
15. Save the file when you are finished.
15. In the FX chain, insert ReaDelay just before ReaComp. Set length (time) and length (musical) both to 0.0.
Set Feedback to about -50.0 dB.
16. Click on the Length (time) control to touch it, then on the Param button, then MIDI link, then CC, then
Pan Position MSB.
17. The Parameter
Modulation/Link dialog will
be opened. Click on the
large button, then select
MIDI then CC then Pan
position MSB.
18. Adjust the Offset and
Scale settings so as to get
a smooth increase and
decrease in the delay length
as the pan moves out to the
right and back (while the
song is played).
19. Save the file!
Whenever any of these features is added to any FX parameter (e.g. from the individual FX window, or from the
FX bay), it will automatically be added to the FX Parameters Bay display. In the above example, Band 2 gain on
ReaEQ on track 1 uses parameter modulation: this is shown in the Mod column, which also indicates that they
are under the
control of audio
control signals
(ACS). The
Details column
tells us that
another
parameter on
this plug-in,
Band 4 gain, is
linked to Band 2
gain. The
Envelope
column shows
that two
parameters from
ReaDelay on
track 5 have
armed and
active
automation envelopes. Two parameters from ReaComp on track 2 have had their controls added to the track
control panel (or TCP, as indicated by the dots in this column), and one parameter from a Guitar/chorus plug-in
(Track 3) has both a track control and an armed envelope. No parameter is shown in the Learn column as being
under control surface control.
The table below summarises how you the Parameter FX Bay can be used.
Manage or modify a different Right-click on the plug-in name and from the menu (shown above)
parameter on the same FX choose Other FX parameters... Choose an option (show in track
controls, track envelope, parameter modulation or learn) from the sub-
menu, then select the required parameter from the list.
Manage or modify a parameter Select the FX Bay (not the FX Parameter Bay!) then right-click on the FX.
on an FX used in the project but Choose FX parameters from the menu, then from the FX Parameters
not yet modified list choose an option (show in track controls, track envelope, parameter
modulation or learn) from the sub-menu, then select the required
parameter from the list.
REAPER can be used to edit the soundtrack of your video files, such as .MOV, .WEBM, .AVI, .MPG, .VLC, .MP4
and .WMV files. These files are imported via the
Insert, Media File command, or by simply dragging
and dropping into the Arrange window.
You can use the Track, Insert Track from
Template command to import data from a .EDL file.
Use the View, Video Window command,
Ctrl Shift V, to show the video window (which is
dockable). For Windows users, video playback is
handled by Direct Show (but see 20.7): MacOS uses
Quick Time.
You can edit the original soundtrack, and/or add extra
audio tracks and items to the existing soundtrack (as
shown above).
The Options menu in the video window (shown
right) offers a number of useful features, including:
Dock: This option enables you to dock the video window. The same command will also undock an existing
docked window. Docking is discussed throughout this user guide. In particular, simple docking is explained more
fully in Chapter 2, and the use of multiple dockers is explored in Chapter 12.
Full screen: A toggle command used to expand the video window to cover the whole screen. In full screen
mode, right click anywhere to display this menu.
Preserve video aspect ratio: When enabled, this ensures that the height:width picture ratio is maintained no
matter how the window is resized.
Resize video window to original video size: Needs no explanation!
Video item properties. This opens a window revealing the properties (length, video, audio, decoding format,
etc.) of the video item.
Example 1
Download the sample file VideoSamples.zip from: https://dlz.reaper.fm/userguide/VideoExamples.zip
To open this, you may need to have a utility program such as AlZip or 7 Zip. The archive file contains two
folders, Wildlife and Zebras. The video items are in MOV format. If they do not display in REAPER, you may
need to install the VLC decoder. An easy way to do this is simply to download and install the free VLC media
player (see also Section 20.7). In the sample clips, video quality has been compromised to keep the file and
download size to a minimum.
In the first example we will start by performing some basic and simple editing tasks before getting a little more
ambitious and adding some effects. You should not attempt these exercises unless you have at least a basic
understanding and experience of working within REAPER's arrange view environment .
1. Open the project Zebras.RPP. You will find a video of about 45 seconds of zebras drinking at a water hole.
Let's decide we want to shorten it a little. First, save it as ZebrasDemo.RPP.
2. Display the Options menu and make sure that Ripple editing is enabled for all tracks.
3. Click on the media item Zebras.mov to select it.
4. Within the arrange view window, select the time from approx 8 to 20 secs. Right click on the media item
and choose Cut selected area of item. Press Esc to clear the time selection. Turn ripple editing off.
5. Now let's add a musical soundtrack. Turn the volume fader on the Zebras track all the way down.
6. Display Windows Explorer and from the Zebras folder drag and drop the file morning.mp3 into your
project as a new track. Shorten this track to make it the same length as the video. Save and play the file
7. If you wish, add a track to this project. On this track record a little spoken commentary, then use volume
envelopes so that the voice will sit nicely on top of the music. Your project will look something like this:
8. Save the file. Do not yet close it. We are going to add a video effect or two.
REAPER's video effects can be inserted into track or item take FX chains. They are flexible and powerful, but
they do take some time and effort to get to grips with and to master. Some of them do include parameter
control rotaries, but sometimes to get the best results you will need to be a little more adventurous. We'll dig
deeper into explanations later in this chapter, but for now let's just explore some of the simpler options.
19. Into this effect load the preset Transition: horizontal wipe. This preset includes the parameter
control, labelled wipe pos.
20. Save the file and play it. Notice you can now only see half of the picture in the video window: the other
half is blackened out!
21. We can fix this with an automation envelope. Add and envelope for this track for the parameter wipe
pos on the horizontal wipe effect.
22. Adjust this envelope as shown below: you do not need to be exact in positioning the points.
23. Save the file and play the video. The picture will now scroll out from the right at the end of the video.
In the next example we will be a little more ambitious with our use of effects.
Note 1: When you modify and the code of a video effect, you are only changing it for that single instance, you
are not changing the default. If you make a mistake or get confused, simply remove the plug-in from the FX
chain, reinsert it and start again.
Note 2: Pressing F1 from within a preset code window will open a help window which includes a list of
parameters used by that preset,.
This next example uses a project file with three video tracks. If you have downloaded and unzipped the sample
files included in VideoSamples.zip you will find the folder Wildlife, which includes two projects, Wildlife1
and Wildlife2. Wildlife1 will be used for the practical exercises. Wildlife2 shows you the project with the
exercises completed, plus a few extra effects that we’ll get to later. A third file, Wildlife 3 also has some extra
effects.
Example 2
First, we will look at a project with some simple edits and video effects added. After that, we can discover how
this was done. Open the file Wildlife2 and play the video from the beginning. Notice in particular that:
If you check the video page of your project settings (Alt Enter) you should see that Items in lower
numbered tracks replace higher is selected..
There is a scrolling title.
There are three video tracks, which have been edited so that at the beginning and end of the movie
these are shown one at a time, in sequence, but in between they are faded in and out.
An additional track, Track 1, contains no media items, only various video processing plug-ins.
Further visual effects are used from time to time..
Let's see how this was done, starting with track 1, Video FX.
The Track Edits
Simple slip editing has been performed on the video tracks. Because these are processed with lower track
numbers having priority, when this is played you will initially see only the elephants (track 4), then only the
zebras (track 3) then only the antelopes (track 2). A number of envelopes have been added. In these
examples, the FX have been applied in each case to the entire track. Keep in mind, however, that you can
apply these effects directly to individual items if you wish. Explanations follow!
The Title
Position the play cursor at the very start of the video. A video processing effect instance has been added to
this track's FX chain (track 1), and the preset Overlay:text selected. The code has been edited with the text
changed to Morning in Africa
Some parameter values have been changed from their defaults, notably text height (0.1), y position (.49)
and text bright (0.35). This last setting hides the text by making it the same color as its background.
Envelopes have been added (see above) to first fade up the text to make it visible (text bright), then scroll
it across the screen to the center (x pos), then fade it out. A bypass envelope ensures that the title is
removed altogether at or around the 8 second mark.
Note: If you develop a serious knowledge and understanding of scripting languages such as Lua or EEL then
you have at your disposal an amazing scope for creating and using video effects in REAPER. However, as this
example has demonstrated, even a very limited knowledge and understanding such as is required for this
example places considerable power in your hands!
Try it yourself! Open the file Wildlife1, save it as Wildlife1a and have a go at reproducing these effects
yourself. Any time you make edits to any code, remember to press Ctrl S to save. If you have more time on
your hands, see what other effects you can find in this file that have not been described in this example! Don't
yet be too ambitious: in the next example we'll explore a slightly more complicated example.
Example 3
This next example, Wildlife3 uses the same source media files but includes some extra effects and more
automation envelopes. Play this video from the beginning, then we can have a look at what has been added.
The main title is centered on the video window, is larger, and fades up at the beginning before
disappearing. It reappears near the end and is faded down.
There are more effects on the antelopes. They return at about the 10 second mark badly pixelated, then
gradually ease into a clean image before the lighting effect is applied.
The zebras have their own track title displayed, Time for a drink. This is displayed for a few seconds near
the end of the video. Let's see how this was ALL done.
The Main Title: An envelope has been added for bg bright, starting at .5 and fading down to 0, so that the
background will now fade in with the text. The y position of the text overlayed has been lowered.
The Antelope Stage Lighting Effect: A stage lighting effect has been added to the Antelope video track.
Conservative values have been applied to the parameters to ensure that the effect is fairly subtle.
The Zebra Pixel Effect: An instance of the
video processor has been added to the
Zebra track FX chain, and the preset
FX:pixelate image has been added. This
preset comes with five parameter controls
(knobs), any or all of which can be tweaked and/or automated.
Together, the first four determine the positioning (horizontal and vertical) and size (width and height) of the area
covered by, the pixelated part of the screen. Experiment with these if you like. The fifth control determines the
size of each pixel: this is what we are going to look at now.
A pixelsize and a bypass envelope have both been added for this plug-in. The bypass envelope ensures that
the pixel effect is only displayed for the few seconds that it requires. The pixelsize starts at zero, rises sharply
to about 50%, then gradually decreases again to zero.
A gaussian blur effect has been added to the Elephants, so that the elephant herd gradually comes into focus
at the start of the video.
Analysis FX (cont)
Color Peeker (Monitoring FX only) Matrix of recent frames
Histogram (RGB) Pixelate image
Basic helpers RGB decompose
Apply track FX only where track has video items Shadow/midtone/highlight RGB adjust
Brightness/Contrast Show motion (subtract last frame)
De-interlace track/item Stage lighting
Decimate track/item frame rate Overlay
Item fades affect video Image overlay
Resize track/item to project dimensions Text
Track opacity zoom/pan Panoramic
Combine Equirectangular/spherical 360 panner
2 x 2 input matrix Spherical 360 to stacked panoramic slices
Chroma-key (RGB version) Synthesis
Chroma key (YUV version( Decorative Oscilloscope with Bitter
Crossfade thru inputs Decorative Spectrum Analyzer
FX Transition
Bitter feedback Horizontal wipe
Blur (Gaussian) Matrix wipe
Blur (low quality Peephole wipe/vignette
Colorize Vertical wipe
Edge detection (vertical)
Utility
Invert colors
Screensaver (Monitoring FX only)
Note also that from time to time more presets are added to REAPER's video processor plug-in.
4. Import your video files into your project. Video takes that run in parallel to each other (i.e. at the same
time) should be placed on separate tracks. Items that are sequential may be placed on a single track.
5. Use markers and regions to help manage the media items in your project. Make such edits as you need to
your video items.
6. If you need to replace the soundtrack of a video item with a separate audio item, display the video item's
Item Properties, then click on the Properties button and enable the checkbox Ignore audio. The
replacement audio item should be placed on a separate track.
7. Add transition effects and text titles.
8. Edit existing audio and/or add any new audio material that may be required.
9. When you are ready, render your project to a single file.
A simple example of such a project is shown above. This is included as Wildlife2a with your sample files.
6. Select your required output format (e.g. MP3, OGG, FLAC, AIFF) and any parameters associated with
that format – e.g. options for MP3 include specifying CBR, VBR or ABR quality.
7. Metadata can be added to many audio file format types, including WAV, FLAC, OPUS and MP3. To include
metadata click on the Metadata button, select the required scheme and specify which items are to be
included. More information about this is given below.
8. To convert the files, after making your selection click on the Convert All button. This opens the File
Conversion window (see above).
21.2.1 Wildcards
Wildcards allow information of
specified types to included in the
metadata or rendered file name.
For example, including $project in
the filename will cause the project
name to be included in the file
name. Including a backslash
(Windows) or slash (Mac) between
wildcards causes a sub directory to
be created. For example, naming
your output files $project\$track
would cause a separate
subdirectory to be created for the
output of each rendered track.
$author will include in the
metadata any text saved in the
project settings Author field.
Clicking the Wildcards button
causes a list of available wildcards to be displayed. Many are self-explanatory (for example, $project will return
the project name), but for explanations of those that are not you can click on Wildcard help … at the bottom
of the list to open the window shown above.
21.2.2 Metadata
Metadata is information about a recording (such
as song title, artist name, track number) that is
stored in the file along with the recorded
material itself. This information can then be read
and used (and displayed) by other software and
electronic devices, such as portable MP3 players.
Different metadata schemes are used by
different recording formats. The most widely
used is ID3 (with MP3 files) but other schemes
include BWF (WAV and FLAC), INFO (WAV),
CART (WAV) and VORBIS (FLAC, OGG, OPUS).
To include metadata with your rendered files,
click on the Metadata button to open and
display the window shown here.
Select your required scheme, then enter the
information required in the appropriate fields.
The example shown here uses a combination of
text fields and wildcards.
When finished you can Apply save this information before clicking on OK to return to the Batch File Conversion
dialog. Don’t forget to enable Embed metadata.
Note: The project render metadata window can also be opened from the main menu using the File, Project
render metadata command.
Note: Be careful how you use the option to Embed tempo. It adds an ACID tempo tag to the audio file(s). This
may be interpreted by any tempo aware application so that the audio is stretched or processed when you do not
wish this to happen. Only enable this option if you are certain you want the tempo embedded.
Shown here is an
example of a project
after consolidation, with
one media item per
track. These four media
items can be easily
imported into any DAW
program, with vocal
harmonies then added.
Note: To consolidate in
MP3 format you will
need to have the correct free Lame encoder file for your platform and REAPER version. For example, for
Windows XP or Vista this is lame_enc.dll. For 64-bit Windows it will be either libmp3lame.dll or
lame_enc64.dll. This file is now included with the REAPER download. Likewise, for output video rendering you
will require an encoder such as Ffmpeg.dll, also included in the download.
When you consolidate media in this way your item settings and properties (e.g. take envelopes, take FX, item
pitch adjustment) will be incorporated in the output files, but track based properties (e.g. track FX) will not be.
To apply your track FX chain, track envelopes, etc. to your output media, you should instead use the Render to
File dialog, selecting Stems (selected tracks) from the Source drop down list.
Option Explanation
Source Master mix mixes all material to a single file, stems renders selected tracks to
(see also summary table separate files, or choose both. Stem rendering is explained later in this chapter.
at end of this chapter). Other options are region render matrix (explained later in this chapter) or
selected tracks or media items (optionally via the master).
Bounds: options vary Select custom time range (enter in edit boxes), Entire project, Time
according to Source selection (made in arrange view), Custom time range (enter start and end
(e.g. bounds options for times in dialog) or Project regions (selected in Region/Marker Manager or
Master Mix bounds are Region Render Matrix). For Entire project, markers named =START and =END
shown here on right). (if present) will be used to define start and end of project for rendering.
Presets button Saves settings as a preset, or loads a previously saved preset. These can
include Render bounds and output, Options and format, or All settings.
Saved settings will automatically be added to the Presets menu.
Directory and Any directory specified in your Preferences will be used by default. Otherwise
File name type in a directory of your choosing or use the Browse button. See Chapter 22
(General, Paths and Keyboards) for more about relative and absolute paths
Use the Wildcards button to include in the filename information such as track
name or number, project file name, and/or date/time stamps (Chapter 21.2.1).
The render path and file name to be used will be displayed in the Render to
box, just below the Directory and File name edit boxes.
Sample Rate Select a value in the range 8000 to 192000, depending on output format and
other factors. Some examples follow in the table after this one.
Channels Choose mono, stereo or select a number for multichannel output.
On or Off-Line Speed Full-speed (default) for fastest rendering. Others include 1 x offline, online (play
mix while rendering), online (idle) and offline x 1 (idle). Idle assigns a lower
system priority to the render thread, freeing PC resources for other tasks.
Use project sample If enabled the project sample rate will be used for mixing and FX/synth
rate... processing. If in doubt, leave this enabled.
Resample mode Various options allow trade off between speed and quality. Default is 192.
Use project rate Enabled this automatically uses project sample rate for mixing/processing.
Tracks with only mono Enabling this ensures that mono channel rendering will automatically be applied
media ... to tracks where all media items are mono or with a mono Item Setting.
Multichannel tracks... These can be rendered to multichannel files. An example follows shortly.
Dither, Noise shaping Not available with all output formats, commonly used when rendering 24 bit (or
(master mix and/or stems) higher) audio material to 16-bit WAV format for audio CD. Creates a smoother
transition to the lower sample rate in the rendering process.
Metadata Click this button to embed metadata in the rendered file – see Chapter 21.2.2.
Primary/Secondary Primary output settings determine the format in which your material will be
output format rendered. Optionally, you may also choose a secondary format, for example, to
render two separate files, one in WAV and the other in (say) MP3 format.
Choose WAV, AIFF, audio CD image, DDP, FLAC, MP3, OGG Vorbis, OGG Opus,
video (Ffmpeg/libav encoder), video (GIF), or WavPack lossless compression.
Format specific options Other options depend on the format, e.g., for WAV or AIFF files, specify bit
depth, for FLAC select FLAC encoding depth and data compression level, for
MP3 bitrate mode (e.g., variable or constant) and the actual bitrate, and so on.
When rendering to WAV files, you may also specify whether markers, regions,
both or neither should be embedded as cues in the output file(s). The option
Include project filename in BWF description is also available for WAV
format: it associates rendered files with the source project – see Chapter 12.
For WAV files you have also the option to embed the project tempo.
Option Explanation
Silently increment Prevents you from accidentally overwriting an existing file: an incremental
filenames... number (001, 002, etc.) will be added if an existing file name is used.
Embed tempo This option is available for WAV and AIF files only. See section Embedding
Transient Information when Rendering for detailed explanation.
Do not render ... Optionally, do not render files that appear to be silent.
Add rendered items to If enabled, this option causes your rendered file(s) to be added to the project
new tracks... as new tracks.
Save copy of project to Tells REAPER to make a time and date stamped copy of your project file,
outfile.wav.RPP preserving all settings exactly as they are at the time of rendering.
Render queue Add to or open queue for batch rendering: see Section 21.6.
Render x files Causes project to be rendered to one or more files, depending on options.
Delay queued render to Resolves problems that can be caused when samples (especially large samples)
allow samples to load need to be loaded before rendering.
Save changes and close Saves and closes the render settings without rendering any files.
Example Specification
DVD Audio Sample Rate: 48000 HZ, Channels: Stereo, Higher Quality
Soundtrack Output format: WAV format, 24 bit
CD Audio Sample Rate 44100 HZ, Channels: Stereo, Higher Quality
Output format: WAV format, 16-bit
Apple Mac AIFF Format. Preferred settings will vary with individual circumstances.
Web Site / Web Sample Rate 44100 HZ, Channels: Stereo, Higher Quality. Output format: MP3
Audio Other options trade off files size and download time against audio quality, but a typical
selection might be CBR (Constant Bit Rate) 96 or 128, Joint Stereo, Quality High
Monkey’s Audio Use this format for lossless compression at 16 or 24 bit, sample rate as preferred.
Audio CD Image Specifications as for CD Audio. Used to burn your rendered output directly to CD, or to
(Cue/Bin) format create an image file on your hard drive for use with CD burning software. You can use
markers or regions to define tracks. This includes the option only to use markers whose
name begins with "#", in which case these become track markers. Further information
about how to do this can be found later in this chapter.
Multichannel We look at channel splitting and creating multichannel tracks in
Tracks detail elsewhere in this User Guide, especially in Chapter 17.
Tracks can be exported in multichannel format and used by
another program. Select the tracks in the track control panel, then
open the Render to file dialog box and include these options:
Channels - Select the number of channels, e.g. 4
Select Render stems (selected tracks) to similarly named files.
Select Render multichannel tracks to multichannel files.
Optionally, Add items to new tracks in project when finished.
This section requires you to have a sound knowledge of REAPER's regions, what they are, how to create/modify
them and how to work with them. This is all explained in Chapter 9.
Rendering regions uses a combination of three possible windows: Render to File, Region/Marker Manager
and Region Render Matrix. For the most part you will not need to use all three together, but it will help you if
you understand how these three windows integrate.
If you have already made your selection of regions in an existing region render matrix, you can render these
regions and only those regions direct from within the Render to File dialog. Select Region render matrix as
your source and Selected regions from the Bounds drop down.
Otherwise, you can select and render any permutation of tracks and regions you like. In the Render to File dialog
you can include wildcards like $region and $track in the output file names. To display the Region Routing Matrix:
From the main menu choose File then Region Render Matrix, or
Click on the Render Matrix... button in the Region/Marker Manager window.
In the Render to File dialog (File, Render...), select Region render matrix from the Render drop
down list, then click on the Region Matrix... button (see below right).
To help you understand how this matrix
works, look at the example below right.
It uses a simple project of four tracks.
The song consists of three regions –
Verse 1, Verse 2 and Verse 3 .
In the first column (Verse 1), only
master mix (the first header row) is checked. This
would result in one file being rendered for Verse 1. This
file will be a master mix of all tracks. In the second
column (Verse 2) neither header row has been
checked, but two tracks (Vox and Vox Harmony) have
been. Thus, one file for each of these two tracks would
be rendered for this region.
In the third column (Verse 3) both the two header rows
(master mix and all tracks) have been ticked. This
would result in five files being rendered for this region
– a master mix of all tracks, plus individual files for
each of the four tracks.
You can make your selection in either the Region
Render Matrix or the Region/Marker Manager – both
are automatically updated. This is shown below:
This window's right-click menu includes options to Render master mix for all regions, Render all tracks for
all regions and Render master mix and all tracks for all regions.
From the Region Render Matrix you can open the Render to File dialog by clicking on the Render button.
Here you can select your options. If you only want certain regions to be rendered, select these in the
Region/Marker Manager window, then choose Selected Regions in the Render to file dialog.
5. Save the Project File. Now follow the instructions below for Burning the CD.
Burning the CD
1. Choose the File, Render
command. You should now
select the necessary options and
settings for burning your CD.
2. Sample rate: 44100
Channels: Stereo
Render entire project
Render Master Mix
Output format: Audio CD
Image (CUE/BIN Format)
Track mode either Markers
define new tracks and Only
use markers starting with #.
or Regions define tracks
Burn CD Image after render
If you are not using a dithering
plug-in, consider also enabling
Dither and/or Noise Shape.
3. Optionally, you might wish to
add Metadata (see note
below).
4. In the case of the first of our two
examples (with separate media
items lined up on different
tracks) you might also want to
specify a Lead in silence for
tracks of 2000 ms.
5. Click the Render button and wait for the output file to be rendered. This might take a few minutes.
6. When rendering is completed, the Burn Audio CD Image screen will be displayed (see below).
7. Your preferred Method will depend on factors such as your PC set up and operating system. If in doubt,
accept the default that is offered. Click on Burn CD.
8. Select Eject CD when done. Decide whether you wish to keep or delete the CD image files when done.
It's probably worth keeping it, at least for now. If you have any problems with burning the CD itself here,
you might well be able to use the image file with another CD burning program such as Nero or Toast.
9. Insert a blank CD into your CD drive and wait for it to load, then click Burn CD.
10. Wait while the Burning in progress message is
displayed. Your CD will be burnt using the Disk at
Once mode, and as such will be suitable for use by
replicating or duplicating services.
11. When finished, the CD will be ejected. Click on
Close to close any messages still displayed.
Instead of using markers to define the start of your tracks,
you can if you wish create a separate region for each CD
track and use the Regions define tracks (other areas
ignored) option. Only that material which is included in
your regions will be burnt to CD.
Other options include Don’t save when volume drops below a specified level for a specified length of time, and
Silently increment file names to avoid overwriting.
When you have made your settings, click on the Start button to begin bouncing. Choosing Save live export to
disk (bounce) from the File menu will now cause the bounce to end.
This command has several uses, such as recording continuously a log of your sessions to a compact file format
such as MP3, so that later you can hear everything that was said about each take even though the transport was
stopped and nothing was being recorded on the tracks. One neat aspect of this is that you can use REAPER's
media explorer window to locate and play back this file even while it is still being recorded.
If you do set this to run non-stop, however, remember to stop the recording when you no longer need it, to
avoid creating an unnecessarily large file.
Tip: The actions list includes the action Save live output to disk using most recent bounce settings.
available decoder information. In the window that pops up, under ffmpeg/libav it will show Loaded from: as
the UserPlugins folder location, along with the name of one of the DLL files you added to that folder.
Your Video preferences also include the field Video decoder priority. At the start of the list you should see
ffmpeg listed there (and possibly also vlc). The order of these two decoders will determine which decoder is
chosen first for playing video in REAPER (but not for encoding a video). You can edit this order if you wish.
Sometimes FFMPEG will work better than VLC; you may want to change the order of the video decoders if you
are having problems seeing video in REAPER.
21.14 Stem Rendering Media Items
Stem Rendering can be applied to ease your CPU load. The item(s) is/are rendered to a new track, whilst the
original track remains but is automatically muted and its FX are bypassed. If you later wish to change the FX in a
stem rendered track, you can delete it, unmute the original, and make your changes. To make a stem track:
1. In the Track Control Panel area, right-click over the track number.
2. From the menu, choose Render/freeze tracks, then one of the Render tracks to … stem tracks
(and mute originals)
commands. Your
choices are mono,
stereo or
multichannel.
The first of these will render
to a mono item (as shown here). The second will always produce a stereo item. The number of channels
produced when multichannel is selected will be determined by the number of channels that you have defined for
the track. By default, REAPER tracks comprise just 2 channels. As well as track FX, any audio or MIDI received
from sends from other tracks is included in the rendered material.
Stem rendering has a similar effect to freezing tracks . One main difference is that (unlike freezing) stem
rendering leaves both the rendered and the unrendered tracks in the project. If you do not wish to keep both
tracks, consider using one of the Render/freeze freeze actions instead.
Stem rendering is also available with an extensive range of options (such as output format and quality) using
the File, Render... command. This opens the Render to File dialog box.
21.15 Render to File: Source Options
The table below summarizes the various rendering source options discussed in this chapter:
The array of preferences and options available to you is vast. The Find box (bottom left) can be your best friend
in searching for what you want. For example, type solo to find only those preference options pertaining to solo.
Type solo OR mute to find both solo and mute preferences. Every time you click the Find button, the next
relevant preference will be highlighted. For more details and tips, see the section Using Search Filters.
22.2.1 Import and Export Configuration
Export configuration can be used to export to a .ReaperConfig.Zip file any permutation of your settings.
Import configuration can be used to import a previously saved settings file back into REAPER. This can also
be done by dragging and dropping a .ReaperConfig.zip file from Explorer or Finder into REAPER's arrange
window. You will be prompted to confirm that you really want to do this.
Any permutation of the following elements can be selected for inclusion in a ReaperConfig.zip file:
Configuration Miscellaneous data ReaScripts
Color themes Cursors and key maps Language Packs
Plug-in presets Menus and toolbars Media Explorer Databases
FX Chains Actions and key bindings Web Interface Pages
JS FX Menu sets Automation Items
Project and track templates Channel mappings MIDI Note/CC Names
In the first column, tick the categories to be included. The second column will then show you which files have
been selected for inclusion in your ReaperConfig.zip file. After making all your selections in the first column, use
the Save button to create the file.
Import and export configuration exists side by side with the individual import/export options that are available
within many of REAPER's different elements. For example, to export only your actions and key bindings you
would be most likely to use the Import/export... button within the Actions window.
If, on the other hand, you wish to export your actions and key bindings along with various other settings, such
as perhaps menu sets, FX chains and ReaScripts (perhaps to be imported into REAPER on another computer),
then you would be more likely to use the screen shown above.
Tip: It can be a good idea to create a .ReaperConfig.zip file that includes all the above elements and keep a
copy as a backup on a CD, external hard drive or flash drive (or all three!) in case of system failure.
Track volume fader default gain: sets the initial volume fader level for new tracks. Default is 0.0 dB.
Default visible envelopes: allows you to specify any track parameter envelopes (e.g. Volume, Pan) that
you would like automatically displayed for new tracks.
Default envelope point shape: sets the shape for new envelopes (e.g. Linear).
Default automation mode: sets automation mode (e.g. Trim/Read) for new tracks.
Default track height in new projects: choose from small, medium and large.
Show in mixer: whether or not new tracks by default are shown in Mixer.
Main (parent) send: whether send to Master (top level tracks) or parent folder (child tracks) is by
default enabled for new tracks.
Free item positioning: whether FIPM is by default enabled for new tracks.
Record-arm: whether new tracks are automatically armed
for recording.
Record config: click to set default recording settings for new
tracks (see right): e.g. whether monitoring is on, whether to
record audio input or MIDI, default input source.
Whether scaling for volume envelopes should default to
amplitude or fader.
Sends/Track Hardware Outputs Send default gain:
default volume fader level for new track sends.
Hardware output default gain: default volume fader level
for new hardware sends.
Sends/hardware output default mode: default send type
(e.g. Post fader/Post pan).
Sends … by default: whether sends by default include audio
or MIDI or both.
So how is Windows able to keep up with its other 99 or so tasks at the same time as handling your recording? It
does so by dividing its resources between all the tasks at hand. In order to maintain a constant audio stream,
small amounts of memory are allocated to storing this audio stream. These areas are called buffers.
Thus, as you play back your audio, Windows hands over to your sound card a block of audio that the sound card
releases at a steady rate to your external amplifier. If it empties these buffers before Windows gets round to
handing it some more, then you’ve got a problem. The same principle applies, but in the reverse direction, when
you’re recording. And again, when you’re layering or overdubbing, or using REAPER’s input monitoring, both
activities are going on at the same time.
If the buffers are too small, you’ll get gaps in the audio stream. These can lead to pops, crackles and in some
cases even dropouts (that’s when playback and/or recording just stops suddenly and unexpectedly). Making
buffers larger is usually enough to fix this problem, but it brings with it another. Make them too large, and the
data at the end of the buffer has a long wait before it is processed. That’s when you experience unacceptably
large latency, such as the delay between pressing a keyboard and hearing the note in your headphones.
The macOS uses CoreAudio to manage these issues. PC users, on the other hand, are faced with a possibly
confusing choice as to which drivers to use.
ASIO drivers generally offer better latency than others. As a rule, the preferred order is ASIO, WDM, DirectX and
MME, in that order. This is where the ASIO Configuration button on the Audio Device screen is so important
(assuming, of course that you are using ASIO drivers). It opens the audio settings screen for your soundcard.
Shown below is an example of the settings page for one particular external soundcard. It is only an example -
don’t expect yours to look identical, although it is likely to contain similar settings (sample rate, buffer size, etc.)
The smaller the buffer size, the greater the load on your computer’s CPU.
So after making changes to your buffer size, check the CPU usage on REAPER’s Performance Meter. You can use
this fact to your advantage when mixing.
As a rule, low levels of latency are only really needed for recording, not when you are only playing audio back.
Therefore, if you find that you are pushing your CPU close to its limits, you will often be able to fix this by
accessing your audio card’s control software and increasing the buffer size.
Sample Rate also affects CPU usage. Going from 44100 to 88200 doubles CPU usage.
This is an area about which there is much debate, but in reality few of us have ears that can really detect
whether a track has been recorded at 44100 or at 88200. Test this out for yourself and see what you think.
Check also your MIDI Devices settings preferences. This has been covered in Chapter 1.
The option Disable media buffering for tracks that are selected can be useful if using a third party plug-in
that does not respond well to buffering. Otherwise, if you are not technically minded you would be best advised
to leave most of these settings at their default values. If your computer has two or more processors, you might
find the following options useful.
Anticipative FX processing has benefits for both
multiprocessor and single processor systems. On
single processors it makes REAPER more tolerant of
lower interface latencies (and more resistant to plug-
ins that do larger block-based processing, such as
ReaVerb and ReaFir). On multiprocessor/multicore
systems it also allows for very significant
multiprocessor usage. Enabling this feature can allow
improved latency. However, allowing FX
multiprocessing when a MIDI editor is open will
increase preview latency.
MIDI recording within empty time selection always creates selection-length media item. Enable
this to ensure MIDI media item matches time selection length.
Add recorded media to project on stop. Ensures that media will not be added to the project until
recording is stopped. Optionally, you
can create new files for each
recorded pass thru the loop.
Add recorded media to project at
each loop. Ensures that recorded
media is added on the fly after each
pass thru the loop.
22.6.7 Audio Rendering
These are found on the page after Audio
Loop Recording preferences. They are
rather technical: if you are unsure of what to do, leave them at their system defaults:
Block size to use when rendering samples. If in doubt, leave blank.
Whether to allow anticipative FX
processing: may lead to better
multiprocessing performance.
Whether to limit apply FX/Render stems
to realtime (default is off).
Whether to process all tracks (including
if appropriate muted and/o r unsoloed
tracks) when rendering. Makes
rendering slower, but some plug-ins
might need this.
Specify FX tail length when rendering
entire project and/or time selection/
regions, and/or selected media items.
When freezing, whether to render
entire track length if there are track or
per take FX, and if so whether to
include tails (e.g. reverb tail).
Item volume control options are Handle (+0.0 dB is top of item), Handle (+0.0 dB is center of item),
or Knob.
Adjust media item volume by dragging. You can choose either to use either a small rotary knob for this, or
to use the top edge of the media items as a handle.
22.7.2 Appearance, Peaks/Waveforms
This page contains a number of
options to determine the appearance
of your peaks and waveforms.
You can specify whether you wish to
Display peaks for media items
and/or Display peaks while
recording.
You can also choose not to show
peaks for unselected tracks and/or
muted/unsoloed tracks – Only
display peaks for tracks that are
selected and Only display peaks
for tracks that are soloed or not
muted.
Antialising is a technical issue.
Google if you wish to learn more,
but, in short, enabling antialiasing
may give you a more accurate
representation: disabling it may
cause your peaks to be
drawn/redrawn more quickly. The
only difference that edges make is
cosmetic. Enable these options, for
example, if you like your peaks
bordered when using custom colors, disable them if you don't. These options might be disabled by the color
theme that you are using. See Chapter 11 for more information.
Automatically scale MIDI notes and/or drum MIDI will fit the item as displayed in arrange view.
Other options are Draw waveform zero lines above peaks/waveforms and Fill waveforms to zero line.
You can choose when closely zoomed in to your material to view the waveforms as Dots and lines, Filled
samples, Outlined samples, Stepped samples or Smooth.
Enabling Draw faint peaks in folder tracks allows the output of a folder's child tracks to be displayed as
waveforms in arrange view. You can also Draw faint peaks in automation envelope lanes.
You can also specify if and how MIDI CC lanes are to be shown in MIDI tracks in arrange view. Options are Do
not display CC data, Only the first lane visible in MIDI editor, One lane combining all CC data, or
Multiple lanes when space permits.
You may also choose to display program names and/or text events in arrange view.
Sample level waveform view determines how waveforms are displayed when zoomed in so close as to be
able to identify individual samples – e.g., dots and lines, filled, outlined, stepped or smooth samples.
Custom Colors. You may have the options to Tint media item waveform peaks or Tint item background
to any of Track Color, Item Color or Take Color. If more than one option is enabled, then the lowest level
has precedence. That is, take color wins over item color which wins over track color. Note that some themes
including the default theme will disable this group of options .
You can also specify your required tint strength to be used for media item backgrounds, within a range of 0 to
4, where 2 is the system default.
Also in this section is the option Automatically color any recording pass that adds takes to existing
media items. This can help to give a clearer picture when you are working with multiple takes.
Select the default range within which volume envelopes can be adjusted. Options range from -inf...
+0dB up to -inf...+24dB.
Specify a semitone range for per take pitch envelopes, also whether or not to snap.
Specify a display range (beats per minute) for the master project tempo map envelope.
Whether or not to Show new envelopes in separate envelope lanes by default.
When drawn over media, overlap envelopes if each is less than x pixels high. Enabling this option may
create a more cluttered visual effect, but it will allow more height for editing envelope points.
Whether to set the focus to new envelopes as they are added. This automatically selects them for
editing, etc.
Whether envelope points are also selected with a time selection.
Whether the first click on an unselected envelope will insert a point: check also mouse modifier
settings.
Whether to add a transition point on stopping playback after recording automation.
Whether to Prevent mouse edits of single envelope points from moving past other points.
Whether or not to Automatically show affected envelopes when moving data across tracks.
Showing these can sometimes be visually confusing.
Whether Changing the envelope shown in any lane should cause the envelope previously there to be
hidden or moved to the media lane.
Whether edge points (at start and end of time selection) are added to envelopes when media items are
edited, and/or when multiple points are edited, and/or when ripple editing or inserting time.
You can also specify a required transition time for automatically created envelope edge points. A longer
setting can create a smoother transition.
Whether to use relative mouse edits for fader scaled volume envelopes only, or also for other
envelopes. Note that relative mouse edits provide more Y-axis resolution, at the expense of the envelope
points not following the mouse cursor.
Whether to automatically append envelope name to automation item label.
Set automation recording return speed and action transition time: these are the time taken for the
envelope to return to its previous value when using actions to write envelope changes, and to apply when
using write current values for envelope writing actions.
Whether to Automatically add envelopes when you adjust any parameters with write mode enabled.
This makes creating envelopes fast and snappy, but means that with write mode enabled you will not be
able to adjust any parameters without creating envelopes for them.
For hidden envelopes, whether to display read automation feedback and whether to allow writing
automation. For example, you might wish to allow the volume fader on an envelope to move with
changes in volume, even though that envelope is hidden, providing read mode is enabled. Note that allow
writing automation to hidden envelopes can risk making accidental changes to envelopes.
Whether to reduce envelope point data when recording or drawing automation. Not enabling this can
lead to more points being created than you might like.
When recording automation stops, whether to add an additional point before the edit position,
before and after the edit position, or not at all.
When pan/volume envelopes are added, whether trim is reset when the envelope is drawn.
Options are Always, In read/write mode only, or Never. Setting this to Never may make the manual editing
of such envelopes easier (by leaving you plenty of room both above and below the envelope).
After recording automation in write mode whether to automatically switch to one of the other
modes. The trim/read option is handy if you are inclined to forget to do this manually!
Whether where there are one or more latch mode envelopes, these should be reset to their initial states
when looping occurs during playback.
Whether to Always create new automation items when writing automation envelopes.
Whether new automation items should be looped by default, whether editing baseline/ amplitude
in properties dialog affects pooled copies, and whether to Pool source data when pasting
automation items and/or When copying them with media items.
Whether to Trim content behind automation items when editing.
Option to set default edge transition time for new automation items (max 200 ms).
The Mouse page of the Options, Preferences, Editing Behavior window (above) is used to determine
specify how you would like your mouse to behave in REAPER. Here is a summary of some useful options:
Mousewheel targets: whether your mousewheel acts on the window currently underneath the mouse or
on the last window to have focus. This, for example, allows you to use the mousewheel to adjust the
parameters of an open FX window without first having to click on the window to give it focus. Focus can
remain with your mixer, or arrange view, or wherever you were before. For example, Esc would then clear
the current time selection rather than close the FX window.
Whether to Ignore the mousewheel on all faders. Disable this or either of the next two options if you
wish to use your mousewheel to adjust faders on the TCP and/or the transport bar and/or FX controls.
Whether to Ignore the mousewheel on track panel faders.
Whether to Ignore the mousewheel over transport edit fields. If disabled, you can edit text fields
such as BPM and play rate just by scrolling your mousewheel over the field. There is also an option to use
the mousewheel to adjust transport time by beats.
Whether Horizontal mousewheel over the mixer scrolls tracks rather than arrange view.
Whether to treat scrolling a laptop trackpad as being like using a mousewheel.
Option to Use pen/tablet safe mode so as not to reposition mouse cursor when adjusting knobs, etc.
Whether Mouse click on track fader or button causes that track to become the currently selected track.
Disabling this allows you to adjust track faders, etc. without changing the track selection.
Whether to require a single click or a double click when editing track names.
Whether Mouse click/edit in track view changes the track selection. Enabling this will ensure that
track selection will follow media item selection.
Whether to Allow modifying edges of time selection over items in tracks. Lets you click and drag
over a track (or between tracks) to adjust start or end of a time selection without affecting item selection.
Allow resizing ruler by dragging bottom edge. Disable this if you do not want to allow the height of
the ruler area to be manually resized.
In addition, for MacOS users on a Mac, there is an option Ctrl left click emulates right click. However,
it is a better practice to use your System Preferences to enable right-clicking.
Mouse Modifiers: The topic of Mouse Modifier preferences is covered in Chapter 15 and elsewhere.
Flash MIDI editor keys on track input: if enabled, causes a brief color flash to be displayed on the
MIDI editor keyboard when the track receives MIDI note-on input.
Horizontal grid lines in CC lanes: toggles the option to show horizontal grid lines on and off.
Events per quarter note when drawing in CC lanes. Specific event density or zoom dependent.
Default shape for CC segments: square, linear, slow start/end, fast start, fast end or bezier: also
whether to Reduce number of CC events when drawing.
Prevent mouse edits of single events from moving past other CC events.
One MIDI editor per … Select whether a separate MIDI editor instance is required for each item, or for
each track, or one instance for the entire project. Depending on your choice you may have other options.
Default Behavior for open items in built-in MIDI editor:
If One MIDI editor per project is selected, specify whether to open clicked item only, all selected
MIDI items, all MIDI items on the same track or all MIDI items in the project.
You also have three more toggle options. These are:
Whether Active MIDI item follows selection change in arrange view.
Whether Media item selection is linked to visibility and/or Selection is linked to editability.
Whether to Close MIDI editor when the active item is deleted in arrange view.
Whether secondary items should be editable by default.
Whether to Avoid automatically setting MIDI items from other tracks to editable.
Double-click behavior: Whether double-clicking a note should switch the active media item and, if so,
whether this should occur only when the media item is on the same track and/or already editable.
Whether double-clicking outside the bounds of a media item should extend that media item.
Option to display a panel showing more information about multiple media items in a single MIDI editor.
Set Opacity for notes/CC in inactive media items. The higher the number, the darker these notes
will appear.
Default note color map: allows you to specify your own default note color map.
The Media page of the Options, Preferences window lets you customize your Media settings. Here is a
summary of some of the options that you might find most useful.
Media Settings
When inserting multiple media items: You can choose whether the default behavior should be to
insert as separate tracks, to insert sequentially in a single track, for REAPER to determine which
appears the more appropriate, or whether you wish to be prompted each time.
Copy imported media items to project media directory: This option helps you to keep together all
those files that belong together.
Whether to use the media file name to Automatically name unnamed tracks on media import.
Options to Set media items off line when application is not active and to Allow videos to go
offline.
Toggle option to Prompt to confirm filename on “open copy in editor”.
Set tail length when FX applied to items and takes.
Duplicate take FX when splitting: Determines whether any existing FX in an item's FX chain are
automatically copied to new items that are created when the original item is split.
Waveform media peak cache settings
Generate peak caches: You can determine if you want peak caches generated on import,and/or on
project load, also whether to Show status window. .
Desired cache resolution: Determines the precision to be used.
Options to Put new peak files in peaks/subfolders relative to media and Store peak caches in
alternate path if unable yo write to media file directory.
Option to Always generate spectral peak information.
Option to Automatically rebuild peaks.
Option to Automatically rebuild peaks if necessary when enabling spectral peaks.
Direct-X (DX) plug-ins are by default Enabled. You can Scan for new DX plug-ins manually or specify Scan
for DX plug-ins on startup.
22.10.4 Plug-ins, ReaScript
22.10.5 Plug-ins, ReaMote
Both these are discussed in Chapter 23.
To select any one file, just click on its name. To build a selection, hold the Ctrl key while you click on each
required file name. To select all files in the list, click first on the first file name then, holding the Shift key, click
on the last name in the list. You then have the option to either delete these files permanently from your hard
drive, or to send them to the Windows Recycle Bin (as shown here). After making your selection, click on the
Remove Selected Files button to remove them.
Don’t forget also to backup your work regularly, to a flash drive, external hard disk, CD or DVD, or more than
one of these. The easiest way to back projects up is to simply use the Windows file management system.
Note: Some users have reported problems with native ASIO drivers after installing the ReaRoute driver. If you
experience problems with your ASIO drivers after installing this feature, uninstall REAPER, then re-install with
this check box cleared.
Once ReaRoute has been installed, you can pass audio streams between REAPER and other audio applications.
This could, for example, be another DAW such as Cubase or Ableton Live, or a stand-alone synth such as
Cakewalk's Project 5. In overview,
the basic steps are:
Set up the other application
to work with ReaRoute.
Either Send audio from
REAPER to another DAW and record it track by track within that application.
Or Send audio from the other DAW to REAPER, this time bringing it in as a series of submixes. You can
then apply REAPER features to that project.
Or Use a stand alone synthesizer workstation such as Project 5 in conjunction with REAPER.
Application Instructions
1. Options, Preferences then click on the Audio tab.
2. Set Driver Type to ASIO.
3. Set Audio Device to ReaRoute ASIO.
Ableton Live 4. Click on Input Config then on each input channel to be enabled, then OK.
5. Click on Output Config then on each output channel to be enabled, then OK.
6. Close Preferences window.
Options, Audio Settings, then select ReaRoute ASIO for Output. Close Audio
FL Studio
Settings window.
Before proceeding, you will need to ensure that your ReaRoute ASIO drivers have been installed and that the
Synth Workstation program has been set up to use them.
1. Open REAPER. Open an existing project file, or create a new one and insert a track.
2. Arm this track for recording. Turn on input monitoring and set the track input to stereo. Assign a pair
of ReaRoute channels (probably 1 and 2) to this input.
3. Open the synth program and take whatever steps are needed by way of preparation.
4. Direct audio output to the same pair of ReaRoute channels that you selected at step 2. (above).
5. In REAPER, make sure the play cursor is positioned where you want it. Press Record.
6. Within the synth program, play the instrument(s) to compose a track to accompany your REAPER
song. As you do so, REAPER will record it as a wave file.
7. When finished, save your work.
23.10 ReaScript
ReaScript is a scripting language that takes your ability to customize REAPER well beyond that offered by the
Actions List editor. With ReaScript, you can not only create more powerful and sophisticated macros, you can
even create your own extension commands. To use ReaScript, you will need to have a good knowledge of a
scripting language such as EEL, Lua or Python. EEL and Lua are embedded in REAPER. You can download Python
from the Options, Preferences, Plug-ins ,ReaScript window.
ReaScript isn't for everyone – in fact, because it requires an understanding of programming it isn't for most
people. You can find out more by choosing ReaScript documentation from REAPER's Help menu, and by
clicking on the option View ReaScript Help on the Plug-ins, ReaScript page of REAPER's Preferences window.
For more about ReaScript see also http://www.cockos.com/reaper/sdk/reascript/reascript.php
To be able to use Python, enable it under Options, Preferences, Plug-ins, ReaScript (above). On the
External Editors preferences page you can also specify an external editor for writing and editing scripts.
23.11 NINJAM
NINJAM is open source (GPL) software that allows people to make real music together live via the Internet, each
using the ReaNINJAM plug-in. Every participant can hear every other participant. Each user can also tweak a
personal mix to their liking. NINJAM is cross-platform, with clients available for Mac OS X, Linux, and Windows.
More detailed information about NINJAM can be found at https://www.cockos.com/ninjam/
The Server
You can create your own server for your band/group members/friends to use exclusively or you can log in to one
of the available public servers and join in there. Information on setting up a server is available at:
https://www.cockos.com/ninjam/server-guide.php
A current list of public servers is shown here:
http://autosong.ninjam.com/server-list.php
To connect to NINJAM via a public server (with basic options):
1. Create a new project, add a single track and insert ReaNINJAM into its FX chain. If necessary, click on the
Show ReaNINJAM Console button to open the plug-in’s interface.
2. If no local channel is shown, click on Add Local Channel and give it a name (for example, if you will be
playing a harmonica, call it harmonica). If an existing local channel is shown you can use that.
3. You will now need to join a server. From the ReaNINJAM menu bar, choose the File, Connect command
(or click on the Connect button) to display a list of public servers. Look in the Users column for one that
has available slots. For example, a server showing 8/8 users will have no available slots. Where 2/8 is
shown (as in the above illustration) there will be six available slots.
4. Select your preferred server, type in a Username, clear the Connect with password option, then click
on Connect. Agree to the terms.
5. When are connected, click on the Sync button and choose Start REAPER playback on next loop.
6. A list of other current users will be displayed within the ReaNINJAM window. You can adjust the volume
and panning of each of their instruments. These adjustments will affect only what you hear.
7. The panel at the bottom traces and displays visually the beat of the metronome. There is a fader near the
top of this window which can be used to adjust metronome volume.
8. The faders in the right hand panel (above the metronome display panel) can be used to adjust the volume
and pan position in your headphone and/or speaker mix of each other participant.
9. For the moment, set the plug-in to bypass. Create a new track within the project. Give it a name (e.g.
Harmonica) and arm it as for recording. Set the input source etc. in the usual way. For example, this could
be a MIDI input (actual or virtual keyboard), or and audio input via a lead or microphone. If using a
microphone, output should be directed to headphones only to prevent feedback.
10. Select your NINJAM track and make it into a folder. Make track 2 the last track in the folder.
11. Select the NINJAM track and disable bypass on ReaNINJAM.
12. You’re good to go now!
Latency in NINJAM is calculated in measures, rather than microseconds, so there is no perceived latency when
jamming, but it doesn't really lend itself to real-time band practice. See cockos.com/ninjam for more information
about how latency works in NINJAM.
Various further options are available. In overview, these include:
Many keyboard shortcuts are available for use within NINJAM. For example, F1 to F10 can be used to select
individual channels, and various key combinations can be used to manage channels. These are shown on
the Channels menu.
An option to save multitrack recordings for mixing later (File, Preferences menu).
Options to run NINJAM in normal mode, voice chat mode (less latency) or session mode.
Options to mute the master or the metronome (Channels menu).
Options to mute or solo individual channels (Channels menu).
Options to select a specific remote user or channel (Channels menu).
For more information about these and other aspects of NINJAM, drop by the Ninjam users forum at:
https://forum.cockos.com/forumdisplay.php?f=8
Interface Issues
When I open REAPER This can either be as intended with the default track layout, or (Windows users) you
not all of the track might need to enable HDPI mode.
controls are visible From the Main Menu, choose Options, Layouts, Track Control Panel, B.
If that does not solve the problem:
Choose Options, Preferences, General. Click on Advanced UI/system tweaks. You
will need to find the optimal HDPI mode setting for your system. This is likely to be
(but might not be) Multimonitor aware.
When I press Space (or This happens when focus is with another window, such as the Routing Matrix, or an
some other Transport open Dialog Box. Two possible solutions are:
Control), nothing Give focus to another view such as the Track View or Mixer before pressing the
happens key, or
Use an external MIDI control device such as a BCR2000 and assign transport
functions to its various buttons. These will then work regardless of which window
has focus, or whether a dialog box is open.
When I try to place the Snapping may be enabled. If so, use the Options, Enable Snapping command to
edit cursor exactly disable it.
where I want it, it
moves a little
When I try to make a Snapping may be enabled. If so, use the Options, Enable Snapping command to
time selection, the disable it.
start and end points
move from where I
want them.
Interface Issues
My track volume and This is as intended – these controls work on audio items only.
pan controls don’t Add one or more instances of ReaControlMIDI to the track or item’s FX chain and
work on my track’s make the adjustments there.
MIDI items
My track Volume or Make sure that Automation Mode is set to Read and the envelope is armed.
Pan envelopes do not
move on play back.
I record multiple takes To view all takes for a track, choose the Options, Show All Takes in Lanes Command
on a track, but only the (Ctrl L),
last one is visible. or
To view a take other than the last take, right click over the media item and choose
the Take command from the context menu.
When I maximize a Check your Vertical Zoom Behavior settings under Options, Preferences, Editing
track, the wrong track Behavior. You probably want to set this to Last Selected Track.
is displayed
When I zoom in Check your Horizontal Zoom Behavior settings under Options, Preferences, Editing
horizontally, the edit Behavior. You probably want to set this to Edit Cursor or Play Cursor.
cursor disappears from
view and I get lost
I try to view a window, This can be tricky, and can sometimes happen because of changes made to your
such as Big Clock or Windows display settings. There are two main ways to fix this.
Performance Meter, Use Windows Notepad to edit the reaper.ini file in the folder C:\Documents
but I can’t see it on the and Settings\User Name\Applications Data\REAPER. This should only be
screen attempted if you are confident that you understand what you are doing. For
example, if the Big Clock has been lost, delete only that section of the reaper.ini
file, save it, close it, then restart REAPER.
For example, in the reaper.ini file extract shown here, the Big Clock section is
shown as italicized:
[flac encoder defaults]
default_size=12
default=63616C661000000005000000AB
[bigclock]
wnd_vis=1
wnd_left=967
wnd_top=600
wnd_width=426
wnd_height=137
time_mode=0
[namecache]
Analog_In_1_Delta_1010__1_=In 1
A safer option would be to simply rename this file as reaper.old or similar. This
will return all preferences and options to their original default settings next time
you run REAPER.
My Undo History Go to Options, Preferences, General and disable Create Undo points for item/track
window is too cluttered selection.
Index
keyboard shortcuts, for MIDI editor.........280 media cues, creating from markers...........157 MIDI plug-ins...........................................249
keyboard shortcuts, for recording.............280 media explorer...............79, 80, 81, 82, 83, 84 MIDI preferences..............................248, 416
keyboard shortcuts, importing...................282 Media Explorer...................................79, 390 MIDI Recording.........................................69
keyboard shortcuts, show list......................38 media explorer database..............................82 MIDI replace..............................................71
Keyboard, Virtual.......................................70 Media Explorer, metadata...........................80 MIDI routing............................................248
keymap sets, exporting.............................282 media explorer, time selection....................81 MIDI scrub...............................................232
keymap sets, importing.............................282 Media File, inserting...................................79 MIDI sends and receives...........................215
Media ietm insert into project.....................81 MIDI sends/receives.................................249
media item buttons............................120, 407 MIDI Setup.................................................22
L media item labels..............................120, 407 MIDI snap settings....................................227
Lanes..........................................................65 media item labels......................................120 MIDI source data pool..............................247
lanes, automation......................................329 media item mute.......................................120 MIDI time code........................................423
language packs..........................................397 media item notes.......................................120 MIDI touch-replace....................................71
Latch.........................................................333 Media Item Properties...............................122 MIDI Track List................................240, 241
latch preview............................................334 Media item, insert at time selection............81 MIDI Track Selector.................................240
latency.........................................62, 401, 404 media item, slip editing.............................125 MIDI, chase note-ons................................227
Layered Recording.....................................62 Media item. insert as take...........................81 MIDI, export to file...................................248
Layouts.....................................................205 media items, colours.................................125 MIDI, sync transport to project.................227
Layouts. Mixer.........................................205 media items, default settings.....................401 Mixer........................................................179
Layouts. Track..........................................205 Media preference settings.........................415 mixer layout options.................................179
LFO..........................................................351 media preferences.....................................415 Mixer layouts............................................179
Limiter......................................................302 Melodyne..................................................176 mixer, managing FX.................................182
Linear/longitudinal time code...................423 menus, customizing..................................288 mixer, managing sends..............................185
Link track volume/pan to MIDI..........88, 215 Menus, customizing..........................275, 288 mixer, on-screen adjustments....................186
Live Output...............................................392 menus, exporting......................................289 Mixing Down...........................................381
Lock Settings............................................194 menus, importing......................................289 Monitor external synth..............................215
lock track controls......................................37 meta actions..............................................284 Monitor Input.............................................69
Locking....................................................194 Meta actions.............................................284 Monitor Input (Tape Auto Style).................62
Locking Items...........................................194 metadata.....................................................80 Monitor track media when recording..........63
Loop overdubbing.................................63, 72 Metronome.................................................59 Monkey’s Audio.......................................383
loop points................................................120 metronome output.......................................59 mordent....................................................273
loop points, link to time selection.............120 Metronome Settings....................................59 mouse behavior preferences......................413
loop selection..............................................63 Metronome, automating............................354 mouse modifier settings, save/restore.......286
Loop Selection, locking............................194 Mid Range................................................300 mouse modifiers.38, 118, 128, 131, 133, 135,
Loop Selection, managing..........................46 MIDI.............................................................. 180, 216, 275, 284, 287, 338
loop selection, modifying...........................46 event properties....................................125 mouse modifiers, changing...............126, 284
Loop, creating...........................................151 Tempo Map..........................................349 Mouse Modifiers, customizing..................275
Looped points linked to time selection........46 Event List View..................................233 mouse modifiers, in MIDI editor..............286
looped time selection recording............63, 72 Named Notes View.............................233 mouse modifiers, show list.........................38
Looping....................................................151 MIDI actions.....................................244, 245 mouse settings..........................................413
Loops..........................................................45 MIDI buses...............................................248 Mouse, customizing behavior...................413
LTC..........................................................423 MIDI Buses..............................................324 Mousewheel................................................37
Lyric events..............................................245 MIDI Control Path....................................324 mousewheel assignments..........................281
MIDI data, exporting................................247 Move all media into project directory.........56
M MIDI data: 14 bit......................................234 MP3............................................................30
MIDI Device, installing..............................22 MP3 format...............................................386
macro, creating.........................................282 MIDI Devices.......................................22, 72 MSB.........................................................234
Main Input................................................315 MIDI editing, in-line.................................215 MSB/LSB CC data...................................234
Main Menu...........................................17, 18 MIDI Editor......................................216, 225 MTC.........................................................423
Main Window.............................................19 CC Lane..............................................222 Multiband Compression............................308
Managing Tracks........................................87 MIDI Editor Modes..................................233 multichannel format..................................386
marker, coloring........................................152 MIDI editor settings..................................414 multichannel recording...............................60
Marker, inserting.......................................152 MIDI Editor window................................215 multichannel tracks.....................................60
Marker, naming........................................152 MIDI Editor, creating notes......................230 multichannel VU meters.....................60, 192
marker, snap to.........................................153 MIDI editor, manage tracks......................201 multiple audio outputs................................21
Markers....................................................152 MIDI Files, importing.................................84 multiple instances, allowing......................397
markers =END..........................................153 MIDI Filter Events window......................241 Multiple Item Properties...........................169
markers =START......................................153 MIDI filters...............................................217 multiple notes, editing...............................232
markers, copying......................................157 MIDI Hardware Output..............................48 multiple output VSTi..................................71
Markers, locking.......................................194 MIDI input device......................................69 multiple project versions...................208, 399
Markers, navigating..................................152 MIDI input with sequential channels..........71 Multiple Takes..............................64, 66, 143
markers, removing....................................154 MIDI Item..................................................70 multiple tracks, inserting.............................58
marquee modifier keys..............................118 MIDI item, creating..................................216 multisampling...........................................321
MASTER output bus..................................19 MIDI items, smart editing.........................225 multitasking..............................................401
Master Parent Send.....................................48 MIDI items, time selection.......................225 musical notation........................................258
Master Track.............................................189 MIDI latch-replace.....................................71 MusicXML export....................................274
Master, display in Track View.....................87 MIDI loop recording.................................406 musicXML, exporting...............................274
Measures....................................................46 MIDI Media Item Lane.....................240, 242 musicXML, importing..............................274
measures, creating from time selection.....161 MIDI Media Item Selector........................240 Mute...........................................................35
media appearance settings.........................407 MIDI Note preview..................................227 Mute automation envelope, creating.........333
media cues................................................157 MIDI Output device, time offset.................23 Mute Controls.............................................88
media cues, converting to markers............158 MIDI overdub.............................................71 Mute Item.................................................119